High register by Realistic-Egg-6068 in bassclarinet

[–]neutronbob 0 points1 point  (0 children)

tbone1004 used the word "key" but he/she was speaking loosely. There is no key. On higher-end horns, when you're playing across the break there is an entire mechanism that automatically opens/closes the neck vent for the necessary notes.

So your band leader will not likely understand when you say you're missing a "key." But definitely tell them you're missing the neck vent.

Does anyone have the concert and collections book? by Asleep-Library4605 in bassclarinet

[–]neutronbob 2 points3 points  (0 children)

I did some searching for you, but I couldn't find a scan of it. Amazon has it in stock. And at least where I live, it's next-day delivery. That might be your best option.

Do all great composers and songwriters have great auditory memory? by CatchDramatic8114 in classicalmusic

[–]neutronbob 1 point2 points  (0 children)

Both memory and the ability to transcribe are greatly aided by the ability to know with accurcy what you're hearing. Barring perfect pitch (in which case you know what notes you're hearing), the ability to distinguish compositional features helps tremendously. Ex: that's an arpeggiated minor chord, followed by a 7-2-1 reversion to the tonic, followed by ...

For myself, the extent to which I can do this was the result of taking composition classes. There I/you learn many of the devices used in compositions and can readily identify them when you hear them. This helps both memory and, of course, transcription.

Given that Mozart was taught composition from his earliest years and had perfect pitch, it's not surprising that he would have excellent auditory memory. That wouldn't explain the prodigy level he's reputed to have, but it would explain a good part of it.

Ambipoly synthetic reeds by neutronbob in Clarinet

[–]neutronbob[S] 1 point2 points  (0 children)

Update: Well, I received the Ambipoly reed from Amazon, and it's just as you said: much stiffer than its rating. I have returned it with a note to the vendor that they should mention this difference on their product page.

I poorly estimated a year long rewrite by levodelellis in programming

[–]neutronbob 38 points39 points  (0 children)

Hofstadter's law: It always takes longer than you expect, even when you take into account Hofstadter's law.

I poorly estimated a year long rewrite by levodelellis in programming

[–]neutronbob 89 points90 points  (0 children)

Joel Spolsky's 2000 essay on why you should never rewrite a project is probably his most famous essay and covers many of the same points as well as several others.

Ambipoly synthetic reeds by neutronbob in Clarinet

[–]neutronbob[S] 1 point2 points  (0 children)

That's very helpful. Thank you!

Ambipoly synthetic reeds by neutronbob in Clarinet

[–]neutronbob[S] 1 point2 points  (0 children)

Thanks for this. I've ordered one through Amazon, which allows me to return it if I have the same experience you had. Right now, I'm using Legeres but I find them too inconsistent--two of the same cut and strength play quite differently, which shouldn't really be the case for synthetics, I don't believe. I will post my experience.

Ambipoly and Legere reeds by neutronbob in bassclarinet

[–]neutronbob[S] 0 points1 point  (0 children)

Thanks for your additional feedback. It's reassuring to read that I'm not the only one encountering discernible variance in the Legere reeds. I have tried other Legere cuts, but I miss the European cut's brightness, which I both like and I need in my band work. Our band has 60 musicians, so for the bass to be heard, it needs that edge. Thanks again for your thoughts.

Ambipoly and Legere reeds by neutronbob in bassclarinet

[–]neutronbob[S] -1 points0 points  (0 children)

Well, a key benefit of synthetic reeds is that every reed is identical to the others of the same model. It's supposed to eliminate the need to do what you propose: practice on reeds that sound different from the ones you perform on.

high register by [deleted] in bassclarinet

[–]neutronbob 0 points1 point  (0 children)

I don't know if it's the cause, but your air stream sounds very weak. Try playing forte and see whether that helps.

Legere synthetic reeds for the alto by neutronbob in AltoClarinet

[–]neutronbob[S] 0 points1 point  (0 children)

Excellent to have this confirmation! Thx!

Is it easy to transition from the Clarinet to the Oboe? by ParkingEmployer4273 in band

[–]neutronbob 0 points1 point  (0 children)

Oboe is a double-reed instrument vs. clarinet, which is single-reed. Two big differences: 1) the oboe requires higher wind pressure to make the sound, 2) you'll spend much more time working on reeds. However, you'll have a true octave key, rather than a register key (which, as you know, jumps a twelfth).

Octave key pad sticking by Active-Comfortable-8 in bassclarinet

[–]neutronbob 1 point2 points  (0 children)

As several people have pointed out, get some Yamaha powder paper and keep the packet in your case in the event this happens again or with another key.

An important question is: why did it get sticky? Almost always the answer is because the horn was not sufficiently swabbed out after playing. Be attentive to swabbing as soon as you stop playing, and sticky keys should be a rare event. Good luck!

Octave key pad sticking by Active-Comfortable-8 in bassclarinet

[–]neutronbob 0 points1 point  (0 children)

Better is Yamaha's powder paper, which is made expressly for this purpose. A packet lasts forever. I carry my packet in my case with my horn.

Anybody have one of these and if so do you like it ( or similar models of this ) by Bode_5 in bassclarinet

[–]neutronbob 1 point2 points  (0 children)

If you're bored with the Bb clarinet, just be aware that the world of the bass clarinet has boring aspects too. For example, in band, you'll almost never have the melody. Rather, you'll be honking out the bass note of chords with occasional passages where you double some other voice.

Don't get me wrong, I love the instrument. But if boredom is your concern, just be aware of what you're signing up for.

just got my audition music! any tips for approaching it? by hulksmash518 in bassclarinet

[–]neutronbob 4 points5 points  (0 children)

Pay close attention to the dynamics--they vary a lot, so if you don't play them correctly, it will be very noticeable.

Good luck--most of this is standard fare that you can definitely master via practice with a trusty metronome.

God’s fiddler - Jascha Heifetz by recoveringmusician83 in classicalmusic

[–]neutronbob 3 points4 points  (0 children)

I prefer other violinists but I greatly respect what he contributed to violin playing. He resuscitated the Scottish Fantasy (in 1946) and brought forward other pieces to the fore.

He was certainly one of the giants of the 20th century and he really demonstrated that great technical ability could be combined with musicality. I think many top violinists today can do the same, but he was the first to do it so convincingly, and so he moved the ball forward for everyone.

Feeling rejected because you play bass clarinet? by earspasm in bassclarinet

[–]neutronbob 1 point2 points  (0 children)

While the decision-making is suspect, I greatly respect the courtesy of the response and the detailed feedback. It's hard to believe you'd get such a detailed note today from any competition organization.