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Bret Pimentel, woodwinds
Bret Pimentel, woodwinds
  • Woodwind playing and pedagogy

    Naming the low E-flat (contrabass? contra-alto?) clarinet

    ByBret Pimentel September 6, 2017August 13, 2020

    Every so often I hear from people about what I call the E-flat contrabass clarinet (or “contrabass clarinet in E-flat”), such as in my woodwind doubling in musicals list or in my woodwind methods book. Some prefer the term “contra-alto” or even “contralto,” but I find “contrabass” to be the most accurate and useful description of the instrument.

    (One disadvantage of this terminology is always having to specify the key to differentiate it from the larger contrabass in B-flat.)

    First, let’s dispense with “contralto,” which describes a low female voice, typically in an opera setting. That misses the mark by a wide margin for an instrument whose range dips considerably lower than the lowest male voices.

    The use of “contra-alto” (with or without hyphen) seems to be based on the questionable idea that the prefix “contra-” means “an octave below.” My best guess is that this is a back-formation from the names of some other instruments, such as the contrabassoon (which happens to be pitched an octave lower than the bassoon). In any case, following this logic leads to the term “contra-alto” clarinet because it is pitched an octave below the alto clarinet (an instrument whose waning popularity makes it a questionable choice for a frame of reference). This logic then produces “contrabass” for the B-flat instrument, as it is pitched an octave below the bass clarinet.

    Various music dictionaries that I have at hand agree that the prefix “contra-” means “lower than,” but do not specify an octave lower, and most use contralto voice as an example. (If you have a counterexample from a published, music-oriented reference, I am interested to hear about it.) Based on this, “contra-alto” seems inapt—a contra-alto/contralto instrument should be just lower than the alto, and higher than tenor or bass.

    Problematically, of the three major current manufacturers, Buffet-Crampon and Leblanc list “contra alto” clarinets on their websites, and Selmer uses “contralto.”

    buffet-contra
    leblanc-contra
    selmer-contra

    Here are some published usages of various names, listed from oldest to newest. Send me others if you know of any. It does seem to me that “contra-alto” becomes more common in the last quarter of the twentieth century, a trend that I consider undesirable (cf. “flautist”).

    Reference Nomenclature used Notes
    Waln, George E. “The Clarinet Choir.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999.Ā 2: 43. Article originally published 1955. Eā™­ contrabass
    Ayres, Thomas A. “Arranging for the Clarinet Choir.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1957. Eā™­ contrabass
    Cailliet, Lucien. “Cailliet Discusses the Contras.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Letter originally published 1961. Eā™­ contra-alto clarinet
    Hullfish, William R., and Jack Allen. “Examining a Versatile Instrument.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Letter originally published 1963. Eā™­ contrabass clarinet
    Weerts, Richard K. “The Clarinet Choir of Yesterday and Today.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Letter originally published 1963. Eā™­ contra-alto clarinet Weerts uses “contra-alto” in this letter, but “contrabass” in subsequent articles listed here.
    Abramson, Armand R. “A Better Use of the Clarinet Choir.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1964. Contrabass clarinet The author does not specifically name the E-flat instrument, but refers to the “contrabass members of the clarinet family” (in the plural).
    Weerts, Richard K. “Clarinet Choir Music.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1964. Eā™­ contrabass clarinet
    Weerts, Richard K. “The Contrabass Clarinet in the Modern Symphonic Band.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1964. Eā™­ contrabass clarinet
    Rohner, Traugott. “The Bass and Contra-bass Clairnets are Misnamed.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1957. “So-called contrabass in Eā™­” The author makes a case that the instrument would be better called an Eā™­ bass clarinet (and the bass clarinet would be better called a baritone clarinet).
    Lawrence, Morris Jr. “The Eā™­ Contrabass Clarinet.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Letter originally published 1966. Eā™­ contrabass clarinet
    Small, Terrence. “The Contra-Clarinets.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1968. Eā™­ contrabass clarinet
    Weerts, Richard K. “The Clarinet Choir as a Functional Ensemble.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1969. Eā™­ contrabass clarinet
    Rendall, F. Geoffrey.Ā The Clarinet: Some Notes Upon Its History and Construction.Ā 3d ed. Edited by Philip Bate. Instruments of the Orchestra. London: E. Benn, 1971. Contrabasset-horn in E flat The author clarifies that this does refer to the instrument in question here.
    Harmon, John M. “The Contra Clarinets: New Possibilities.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1978. Eā™­ contra-alto clarinet
    Heim, Norman. “The Clarinet Choir Phenomenon.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1979. Eā™­ contra-alto clarinet
    Donald E. McCathren. “Teaching and Playing the ‘Other Clarinets.'”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1983. Eā™­ contrabass clarinet
    Heim, Norman. “The Clarinet Choir.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1985. Eā™­ contra-alto clarinet
    Baines, Anthony.Ā Woodwind Instruments and Their History. New York: Dover, 1991. Contrabass inĀ Eā™­
    Baines, Anthony. ā€œContrabass clarinet.ā€ InĀ The Oxford Companion to Musical Instruments. Oxford: Oxford University Press, 1992. Eā™­Ā contrabass
    Jones, Brian D. “The Eā™­ Contra-alto Clarinet: Misunderstood and Overlooked.”Ā Woodwind Anthology: A Compendium of Woodwind Articles fromĀ The Instrumentalist. Northfield, Illinois: Instrumentalist, 1999. Article originally published 1998. Eā™­ contra-alto clarinet
    Pino, David.Ā The Clarinet and Clarinet Playing. Mineola, NY: Dover Publications, 1998. Eā™­ contrabass The author allows that it is “sometimes called the ‘contra-alto’ clarinet.”
    Page, Janet K., K. A. Gourlay, Roger Blench, and Nicholas Shackleton. “Clarinet.”Ā The New Grove DictionaryĀ of Music and Musicians. Edited by Stanley Sadie and J. Tyrrell. London: Macmillan, 2001. Contrabass clarinet, Eā™­
    Sadie, Stanley, and J. Tyrrell, eds. “Contrabass clarinet.”Ā The New Grove DictionaryĀ of Music and Musicians. London: Macmillan, 2001. Contrabass clarinet in Eā™­
    Randel, Don Michael, ed. “Clarinet.” The Harvard Dictionary of Music. 4th ed. Cambridge, MA: Belknap Press: An Imprint of Harvard University Press, 2003. Contra alto clarinet inĀ Eā™­
    Payne, Tim. ā€œThe Contrabass Clarinets.ā€ InĀ The Versatile Clarinet, edited by Roger Heaton. New York: Routledge, 2006. Eā™­Ā contrabass
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  • Favorite blog posts

    Favorite blog posts, August 2017

    ByBret Pimentel August 31, 2017January 1, 2018
    • Saxophonist Steve Neff explores the “holy grail” mindset with regard to mouthpieces.
    • Flutist Nicole Riner offers tips on making a living as a freelancer.
    • John Isley discusses finding a personal voice on wind controller.
    • Oboist Jennet Ingle discusses integrity in musical interpretation. (Note: also some political content.) Jennet’s new video series on reedmaking is also worth checking out.
    • Clarinetist Jenny Maclay shares a method for transitioning back into serious practicing after summer vacation.
    • Kristopher King shares an interesting bassoon museum piece.
    • Erin Nichols shows off acoustic paneling made especially for flute playing.
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  • Please lose the music binder
    Musicianship

    Please lose the music binder

    ByBret Pimentel August 15, 2017

    For some reason a high percentage of my incoming students each year like to make a 3-ring binder for their sheet music and lesson materials. I don’t know why.

    They apparently put a fair amount of time and money into this project, which often involves custom cover artwork, dividers, and plastic sheet protectors. As the semesters go by, the binder fills up with every bit of sheet music they have used, until the binder is so heavy that a music stand won’t support its weight.

    I applaud and relate to their interest in keeping things organized and their enthusiasm for the course. But the big music binder just doesn’t work very well. Here are my complaints: Read More “Please lose the music binder”

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  • Homemade EWI stand
    Woodwind playing and pedagogy

    Homemade EWI stand

    ByBret Pimentel August 8, 2017June 30, 2022

    There are a few stands commercially available for the Akai EWI, and lots of folks have made their own or repurposed other items. I wanted one that was inexpensive and compatible with the Hercules stands I mostly use these days, and decided to try the DIY route. I came up with something workable but not perfect, so I’m sharing my finished project in case anyone is inspired to improve upon my design (please share!).

    I built mine mostly from 3″ (~7.5cm) plumbing pipe and fittings. (I’m including some product links in case they are helpful, but mostly I was able to buy these things locally for much cheaper.)

    I bought a 2′ (~.6m) length of pipe, but only ended up needing half of it.
    Cut mostly with a hacksaw, and refined a little with some files and sandpaper. Good enough.
    3″ end cap, with a hole drilled to fit the bolt. The bolt is 3/8-16 (imperial), which fits the peg sockets in my Hercules stands.
    Disk cut from EPS foam (“styrofoam”) and hot-glued into place. This is where the end of the EWI will rest. (The pipe piece is shown here inserted into the 22.5° elbow.) I picked foam because it is lightweight and easy to cut to shape.
    Bolt secured with 5-minute epoxy.
    This nut will help lock the stand in place on the Hercules base, sort of.
    I didn’t bother gluing the parts together, since they fit pretty tightly anyway and I’m considering this a prototype. Some paint…
    …and some craft foam, secured with spray adhesive.
    Works ok.

    It’s more stable than it looks, even on this small Hercules base, because its center of gravity is so low. The end cap and elbow are heavier PVC while the taller part is made of lighter foam core pipe. As always, don’t leave instruments on stands any farther than you can sprint to catch them falling over.

    Things I like about the stand:

    • It was cheap and not hard to make. The worst of it was cutting and shaping the foam core pipe, and someone with cooler tools than I have could probably make quick and accurate work of it.
    • Does work with the Hercules stands I already have. If you can figure out what bolt thread to use, you could easily adapt this to other commercial stand bases.
    • The instrument just rests in the stand, no clips or straps to unhook. Plus the whole upper key “stack” is exposed 360°, so the EWI is easy to grab even during a quick instrument switch.
    • No interference with any of the power/line/MIDI jacks.

    Things that I don’t especially like:

    • On the 3-peg Hercules base shown, the stand has to be oriented as shown to stand up properly, which puts the EWI a little bit in the way of using other pegs on the stand. It works better on one of the larger Hercules stands, like the saxophone or bass clarinet stands.
    • Since the stand isn’t symmetrical like a typical flute/clarinet peg (because it leans 22.5°), it doesn’t always work to just screw it all the way into the base—it may end up leaning in an inconvenient or unstable direction. The nut helps lock it in place when it’s leaning the right way, but it’s fussy and not as secure as I would like (the stand tends to rotate a little if I bump it wrong).
    • It’s pretty chunky. I made a previous attempt to build this from 2″ pipe, which would work okay except that the EWI’s side keys protrude too much. (I did consider sticking with the 2″ pipe and making little cutaways for the keys, which could still be a possibility.)
    • The plastic-specific spray paint I used didn’t turn out well. I had trouble getting an attractive finish, and the paint tends to scratch off without too much effort. I’m not sure if the paint just isn’t well suited to these specific plastics, or if maybe it’s because I applied it in the extreme humidity of a Mississippi summer.

    Anyway, this is a usable though imperfect design, and may be a jumping-off point for future versions by me or you.

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  • Endorsement deals
    Career

    Endorsement deals

    ByBret Pimentel August 3, 2017

    First, let’s be clear about this: in an endorsement deal, the artist endorses the product or brand. The product or brand doesn’t endorse the artist. If an artist claims to be “endorsed by” a company, that is incorrect word usage.

    An endorsement deal means that an artist agrees to be publicly associated with a product or brand, presumably because the company thinks that will encourage more people to purchase their products. In return, the artist generally receives some kind of compensation, which often takes the shape of free or discounted products. The contract might specify some requirements for the artist to fulfill, such as having their name and image used in advertising, appearing at the company’s publicity events, or plugging products on social media. Read More “Endorsement deals”

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  • Favorite blog posts

    Favorite blog posts, July 2017

    ByBret Pimentel July 31, 2017January 1, 2018
    • Check out posts by a small army of bloggers documenting ClarinetFestĀ® 2017.
    • David Wells is working on collecting the Paris Conservatoire bassoon contest pieces.
    • Woodwind doubler Ed Joffe encourages continuing your musical studies beyond school
    • Saxophonist Roxy Coss discusses women as an under-represented group in jazz music.
    • David Mankin shares a fascinating story about oboists Robert Bloom and Engelbert Brenner in a remarkable recording session.
    • Clarinetist Jeremy Wohletz explains the importance of aural training.
    • Saxophonist Sam Newsome identifies some issues that lead to rhythm problems (particularly in improvised music).
    • Flutist Tammy Evans Yonce explains how she approaches a new repertoire piece.
    • Saxophonist Ben Britton catalogs some methods of dealing with sticky G-sharp keys.
    • Eryn Oft outlines the history of Heckel bassoons.
    • Nicole Riner offers suggestions on making first contact with a potential college flute teacher. (Applicable to other instruments, too.)
    • Jenny Maclay dives deep on clarinet resonance fingerings.
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  • Aspects of articulation
    Woodwind playing and pedagogy

    Aspects of articulation

    ByBret Pimentel July 20, 2017

    The concept of “articulation” in woodwind playing is really a bunch of concepts mashed together. Suppose one of my students comes in for a lesson and I tell them their “articulation” needs work. Do I mean they should: Read More “Aspects of articulation”

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  • Recording your practicing
    Musicianship

    Recording your practicing

    ByBret Pimentel July 12, 2017July 12, 2017

    “Record yourself when you practice” is common advice, and good advice. I frequently recommend it to my students, but few of them do it. I think it can seem overwhelming. Recording seems like a big production: getting the material to performance level, using complicated and expensive equipment, playing beginning to end, doing cruelly thorough analysis followed by self-flagellation and sadness.

    Here’s a simple, effective, low-stress approach that I use: Read More “Recording your practicing”

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  • Musicianship

    Buy intonation, not tone

    ByBret Pimentel July 7, 2017July 7, 2017

    How exciting to try out new instruments (or mouthpieces or headjoints or barrels or…) and to find one that really has a great sound! It’s a rite of passage for the young woodwind player, trying out a parade of shiny new possibilities, surrounded by parents, a private teacher, friends, and a salesperson with dollar signs in their eyes. “That one has such beautiful tone!” everybody will sigh.

    I suggest that you do not buy that one.

    photo, themusicgrove

    “Good” tone is a fluid, fleeting thing. That clarinet might have better tone than a half-dozen of the same model because its pads currently leak less than the others. That mouthpiece might sound like a winner because the reed you brought with you happens to mate with it better at the moment.

    And your tone will shift as you adapt to your purchases. That new piece of gear might make you sound like somebody else right now, but as you get accustomed to it you’ll start to sound like you again. (Don’t like sounding like you? Develop your tone concept.)

    Rather than splitting hairs about tone, break out a chromatic tuner, or, better, a drone, and pick out the one that is easiest to play in tune. Bring along a teacher or professional colleague who has high-level proficiency on the instrument, and have them listen and watch the tuner while you play, then play while you listen and watch the tuner. (This is especially crucial if you are a student-level player!)

    An instrument or accessory with great tone but poor pitch will be a constant exhausting struggle to play in tune, and its problems are harder to fix in the repair shop. Gear with rock-solid pitch will do a fair amount of the work for you, and “its” tone (your tone) will improve with practice, listening, and some TLC from a good technician. Shop with your priorities in order, and you will get an instrument that will serve you well for many years.

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  • Favorite blog posts

    Favorite blog posts, June 2017

    ByBret Pimentel June 30, 2017January 1, 2018
    • Clarinetist/doubler Gentry Ragsdale-Szeto finds ways to squeeze in practice on multiple instruments.
    • Oboist Patty Mitchell discusses the energy musicians put into playing, teaching, and listening to themselves.
    • Clarinetist and saxophonist Andrew Allen explores some difficulties and benefits of playing and teaching multiple instruments.
    • Flutist Jolene Harju shares tips on keeping double-tongued notes resonant.
    • Clarinetist Jenny Maclay doesn’t play rests, but does observe silences.
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