Use extreme caution when scoring octave melodies for clarinets, and be aware that the overtones reinforce each other with great potency. (Tip no. 17 from 100 Orchestration Tips) Octave melodies for wind instruments of the same model are generally problematic. Rimsky-Korsakov gently advises against their use, though he opens the door for doubling by auxiliaries at…
Read more…
Orchestrators should know the difference between tuba, contrabassoon, and bass clarinet timbre, and score according to each instrument’s strength and character. This is the kind of tip I love sharing – a comparative look at instruments of similar range and utility, but quite different tone and technique – followed by an excerpt of a favorite…
Read more…
Never underestimate the usefulness of the bass clarinet: perhaps the most flexible of all auxiliary winds. If I were told that my small orchestra commission allowed for only one dedicated auxiliary player, I would probably choose the bass clarinet every time. Why? Well, if we look at the most commonly used auxiliaries of the other…
Read more…
