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Clockmaker’s Daughter, The

  1. Flute, clarinet, pennywhistle

1 comment

  1. Bret Pimentel says:

    Added based on info received from Dominic O’Sullivan. Dominic adds the following (slightly edited):

    “Practically no altissimo for the clarinet, and just one or two mildly tricky bits of fingerwork. The flute part doesn’t require a B foot, and rarely uses the top end of the 3rd register – apart from one run up to C it doesn’t venture above G/A for most of the show.

    “The whistle part is a little more complex to work out – it’s all written in concert pitch, with no indications of instrument keys. … I played all parts sounding 1 octave higher than written (save for a couple of passages sounding 2 octaves higher to cut through the ensemble).

    “A few passages are more chromatic than is idiomatic for the instrument, and there’s quite a bit that requires playing fluently up to 3rd octave D, and occasionally E, on a few different keys of whistle. To execute the less diatonic passages also requires being comfortable with half holing B flat/G sharp/E flat on various keys of whistle … it may be more practical to use a piccolo or sopranino recorder for a couple of section of the show.

    “The whistles that I ended up using for the show are (from highest to lowest): E, E flat, D, C, B, B flat, A

    “There are a couple of passages where a different whistle choice could be made, and the two sections I played on a B whistle could both be more easily done on a D flat whistle (which I don’t currently own). … Those listed above are more or less necessary for the show – in a pinch, the A and E whistle parts could possibly be played on a D whistle … playing something that sounds good is more important than adhering strictly to the part – a brief chat with the composer after the final show confirmed this assumption!).”

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