So, this is the first arrangement I wrote fully on my own.
I transcribed Jean ‘Toots’ Theileman’s Bluesette and wrote the Bass Clarinet and Second Soprano Clarinet part based on the key changes.
I think it is kind of fun, it has a propulsive, merry-go-round feel that works with the melody. I only wish I knew how to play accordion better, so I could play the bass part on accordion. That would make it really cool.
Tho, playing the bass clarinet part through as many times as it took for me to get it mostly down, gave me a new respect for tuba players. I shall never make fun of the tuba!
Starting to get the hang of the recording software, Audacity, not to mention the arranging software, MuseScore.
I’m trying to get it to sound more like a Clarinet Choir, so this time I recorded 4 versions of each part and then mixed those down to a single track. The Bass Bass Clarinet part is on the far left, Tenor Bass Clarinet part in the middle left, Alto Soprano Clarinet part middle right, and Soprano Soprano clarinet part on the far right. After doing that for all 4 parts, a 16 clarinet choir, I added a final Soprano clarinet part of the Soprano part down the middle, ending up with a total of 17 clarinet tracks.
I did accidentally mix the click track into the Bass clarinet part while I was trying to figure out the whole “mix down” thing. Next time I’ll leave that out.
Finally, I used Audacity to a little Reverb, using the “Large Room” preset.
VENI, EMMANUEL. 88, 88, 88.
Plainsong Melody, Mode 1
Arr. by Ernest White, 1899-
Latin Hymn, 1710
Tr. John Mason Neale, 1818-66
I do REALLY like this hymn, but was a giant pain to transcribe.
First, apparently little details like notes per measure and time signatures weren’t a big deal when this hymn was written, so it is written with no measures, something the software I am using to create the scores (MuseScore is awesome! And FREE!)
To get around this, I decided to create “measures” based around the phrasing of the text. That ends up meaning dividing the piece into 12 and 14 syllables per “measure”.
However, once I divided up the melody phrasing, I discovered, when I tried to line up the chords in the harmony parts as they were in the book, that whomever transcribed it also didn’t place an emphasis on having the same number of beats in the other parts as had written in the melody part. To get things to line up, I ended up filling in notes in the harmony parts.
Even so, this arrangement ends up odd, and I have been tweaking it for a few days now, trying to get it to sound like I think it should, especially after I started playing the parts on the clarinets.