“Why not
Clarinet”

 
 
 
 
 
 

 


 

 

Miguel
 Ruiz
 Santos
 

 

Master
 of
 Music
 Candidate-­‐
Contemporary
 Performance
 

 

 

 
Valencia
2014


 

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“Why
 not
 Clarinet”
 

ACKNOWLEDGMENT
There are many people to whom I should dedicate a few lines on this page, and
it is not easy to choose an order to name them. So I will start by thanking so
many excellent musicians in general and, in particular, clarinet players who
have awakened enthusiasm and interest in each new generation of musicians.
I continue by thanking all the teachers who have influenced my musical training,
and especially to all the teachers and staff at the Berklee College of MusicValencia Campus because they have allowed me to grow in personal, musical
and professional aspects and carry out this project.
All my friends and colleagues who made the recording of my pieces possible,
both as musicians and recording engineers and technicians, also are deserve
my most sincere thanks.
And finally, I want to thank my family and closest friends, for their invaluable
support.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

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CONTENTS
1. Introduction ................................................................................................. 3
1.1 About the Author .............................................................................. 3
2. Historical context ......................................................................................... 5
2.1 The clarinet way along the Music History ……….…….…….............. 5
2.2 The clarinet in Eastern Europe ......................................................... 6
2.3 The Balkan and Klezmer music ........................................................ 7
2.4 Jazz and clarinetists ....................................................................... 10
3. Justification and objectives ....................................................................... 17
3.1 Why am I doing this work? ............................................................. 17
3.2 What do I want to achieve with this? .............................................. 17
4.
 Procedure/Methodology............................................................................. 18
4.1 Study and interpretation of various musical styles ......................... 18
4.2 Composition and adaptation for a new clarinet repertoire:
Looking for my artistic voice ........................................................... 20
4.3 Claiming the clarinet as versatile and dynamic instrument:
4.4 Creation of the web clarinetjazz.es ................................................. 31
5. Conclusions ................................................................................................40
6. References ...................................................................................................41
7. Appendixes……………………………………………………………………….43

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1. Introduction
1.1. About the author
I come from a musical family, where all my siblings and some other family
members are professional musicians. Because of this, my love for music comes
from childhood.
I began studying music when I was only 8-years-old in the wind-band of my
hometown. Before that, I had started playing the laud in local folk music groups
formed for the spring feasts of Cruces de Mayo. So popular Spanish music was
my first contact with the music world but, a little bit later, I began to study
classical music at a professional conservatory.
At the conservatory I found one of my greatest passions: Chamber music,
which even today is still very important in my life and musical style.
A few years later, I moved to Madrid to continue my undergraduate studies, and
there I would find two of my biggest influences: the Symphony orchestra and a
music style I always was attracted to, but I never dared to study and understand
exhaustively: Jazz.
As a clarinetist, the most interesting style for me was Classic Jazz and Swing of
the 20s-30s, which is also known as Dixieland. The reasons for this are the
large number of pieces composed for clarinet during that time and the cheerful,
funny and sparkling style which made the clarinet sound and its possibilities one
of the most important and loved instruments for composers and big bands, as
well as an appreciated solo instrument.
This interest led to create a group of Clarinet-jazz players in Madrid with other
clarinetists, colleagues and friends, called HALF PAST CLARS.
The purpose of this group is similar to the work presented below, which is to
adapt jazz standards (standards and classic jazz pieces mainly) to a group of
Clarinet-Ensemble. Besides all the arrangements and song adaptations, we
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composed some original tunes, compiled in a recording album called "Half Past
Clar´s" in 2010.


 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Figure
 1
 CD
 Cover
 of
 album
 Half
 Past
 Clar´s-­‐2010
 


 
I spent my undergraduate studies combining classical chamber music with
symphonic orchestral and Dixieland jams without knowing that this jumble of
styles could finish someday as the diverse works I have developed this year,
thanks to the learning facilities and experiences that Berklee College of Music
has provided.

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2. Historical context
There is a fact which draws my attention: the clarinet as a solo instrument has
lost much prominence in its role in jazz music, situation which does not happen
in other styles such as classical music and even folk music of many countries.
2.1. The path of the clarinet in the music history…
Doing a quick review of the evolution of the clarinet in the history of classical
music (very basic, because this is not the mission of that work and this topic is
too wide) it can be seen that, the clarinet had late appearance, compared to
other woodwinds that were more important than clarinet in the Baroque
orchestra. Since Wolfgang Amadeus Mozart placed it at the top as a solo
instrument (Concerto for clarinet and orchestra the M, 1791) this instrument has
always been able to stay in the music scene and in the minds of the composers
of the following artistic movements as a relevant, much loved and respected
instrument because of all the techniques and sound possibilities it has.
Just to mention some of the best composers in music history, during
Romanticism clarinet was one of the most commonly used wind instruments,
with works dedicated to the instrument, such as Karl Maria von Weber´s
concerts, the Quintet and the Sonatas of Johannes Brahms and many other
composers.
In the avant-garde period of the twentieth century, clarinet has also been in very
relevant works composed by great geniuses of music as Debussy, Stravinsky,
Poulenc and Stockhausen, apart from the great symphonic importance it has
and the large number of orchestral passages compounds.
In contemporary music from the late twentieth century to today, the clarinet is
one of the most used instruments, both in chamber music and as a solo
instrument. The same happens in folk music and folklore of several European
cultures, where the clarinet still enjoys much prominence, especially in wind
band music in Spain and in countries of Eastern Europe and Turkey, as it is an
instrument closely associated to the gypsy music.

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2.2. The Clarinet in Eastern Europe:
2.2.1 At the beginning: The ancient Greek music
Because of its geographic location and its historical evolution, Greece is a
country that belongs to both East and West cultures. That bipolarity manifested
to perfection in its music. In general, Greek music is usually immediately
recognizable by its timbre and its modal melodies from Orient.
The style called Dimotikó, from traditional Greek folklore, has clarinet and violin
as its the main instruments.
Ancient Greek music was the basis to Persian music. It greatly influenced the
Western Gregorian chant and in Byzantine music.
After Byzantine territory fell in Arab hands, its musical resources were used in
Islamic music too ... Ancient Greek music is the basis of classical Arabic music,
Balkan and later Ottoman, and along with its melodies and modes, instruments
such as the klarino also were exported to East Europe.
The klarino (popular clarinet tuned to the natural scale) was led by Gypsies in
the eighteenth century or the Bavarian military bands of the 1830s to part of
Eastern Europe.

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“Why
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 Figure
 2
 Current
 map
 of
 Eastern
 Europe
 


 
2.3 The Balkan and Klezmer music
Gypsy music from the Balkans is one of the treasures of the musical heritage of
the Gypsy people, and by extension of the East-European culture. This unique
cultural heritage was popularized by Emir Kusturica movies or Gatlif, and
increasingly frequent concerts of the "gypsy world music", also called
"Klezmer".
Klezmer music is a style of Jewish music. Born in Eastern Europe in medieval
times, it has traveled around the world accompanying the Jews. In Jewish
musical traditions, Klezmer was mixed with different European music with which
it was in contact, mostly Eastern European, Balkan and Central European.
Klezmer was usually played by a group of three to six musicians. Musicians or
Klezmorim were disreputable people, nomadic musicians, however they were
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the only recourse of the towns and Jewish ghettos to celebrate with some
happiness events like weddings and parties.
The usual instruments were the violin, clarinet, flute, cello and drums. As time
went on, the groups were growing in number to form bigger bands.
In the early twentieth century, the Jews left Eastern Europe first, and later
Central Europe because of prosecutions and lynchings. Many of them moved to
the U.S. and the Klezmer music also traveled with them.


 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Figure
 3
 Group
 of
 gipsy
 musicians
 in
 Chicago.1924
 

According to several musicologists, Klezmer music was born when Eastern
European Jews musicians migrated to America; others argue that the meeting
with jazz music made a big change in Klezmer music evolution and helped it
truly be known.
During the decade of the 1920s the meeting between traditional Yiddish music
and Jazz happened in areas with great immigration, and as a result gave great
compositions and concerts in the modern Music History.
Currently, the most important thing is that many musicians have appeared (not
only of Jewish origin) who show an interest in this art and consider the
interpretation of Klezmer music a way of searching for new ways of expression.

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The melodies and traditional songs are the basic material with which Klezmorim
today enrich their own arrangements and compositions, adding Folk tunes from
around the world, Jazz elements, Soul and other styles of Contemporary music
such as Pop, Rock, Punk and Rap.
Here we can mention the African American clarinetist Don Byron who founded
the Klezmer Conservatory Band, or we can also mention other musicians as
influential Argentine / Israeli clarinetist Giora Feidman Klezmer who mixed
Klezmer with details of Latin music.


 

 


 


 


 

Figure
 4
 Portrait
 ok
 Harry
 Kandel.
 NYC,
 1905
 

Some of the most famous clarinetists who play this kind of music nowadays,
are:
Giora Feidman (Argentina/Israel), Vasilis Saleas (Greece), Hüsnü Senlendirici
(Turkey), Andy Statman (USA), Ivo Papazov (Bulgaria), Petroloukas Chalkias
(Greece), Tale Ognenovski (Macedonia), Martin Fröst (Sweden).

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2.4 Jazz and clarinetists
2.4.1 Origins: New Orleans clarinetists
In the beginning of the Jazz era, in the mid-nineteenth century, the Blues and
Work-songs in the cotton fields or "worksongs" were the styles that local people
sang and listened to. The music was not Jazz, it was a set of rhythms and
melodies mostly from Africa. In the last quarter of the nineteenth century, Jazz
started in Louisiana (New Orleans).
  In the beginning, the clarinet was very
important, and its use was divided equally between black and white musicians,
having figures in different periods and styles. Many Klezmorim migrated to
America, and among them were virtuoso clarinet players that started playing
Jazz.
1892- New Orleans gave birth to the great jazz clarinet Johnny Dodds, one of
the three most famous classical clarinetists this city gave to Jazz, together with
Jimmie Nonne and Sidney Bechet (he lived many years in Europe, the last
decade of his life in Paris ).
Jimmie Noone became established as leader of his own band in the "Apex
Club" in Chicago and broke up with the traditional and established setting of
jazz ensembles in New Orleans. Without brass, the result was some sort of
"Chamber Jazz" where the melody is clear and audible.
Some years later, Johnny Dodds entered the famous group of Louis
Armstrong's "Hot Five" with Kid Ory, Lil Hardin, Armstrong himself and Johnny
St. Cyr (banjo player). These recordings of Louis Armstrong with the Hot Fives
and then with the Hot Seven were the seeds of modern Jazz.
Albert Nicholas played in several bands such as as The New Orleans Rhythm
Kings and King Oliver Band, which became one of the most memorable hot jazz
bands in Chicago, in the early twenties. His style influenced many young
Chicago musicians such as Benny Goodman. Together with some later figures
as Irving Lorenzo Tio or Fazola they helped define an era of Jazz history.

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Many other clarinetists did not become famous for different reasons, such as
not having migrated to the main locations or places of jazz in due time (New
York or Chicago). However, they were not minor players, and the list includes
artists such as Willie Humphrey, another great clarinetist and highly regarded in
his time or Mezz Mezzrow, which occupies a rare and unique place in the
history of Jazz clarinet enthusiast specializing in Blues.


 

 


 


 


 

Figure
 5
 Larry
 Shields
 and
 his
 band
 

2.4.2 The Glorious Era of Swing for the clarinet
Around 1935 the beginning of the Age of Swing arrives, the golden age of the
big bands.
Benny Goodman (son of Polish Jews who migrated to the U.S.) in 1937 was
acclaimed as the "King of Swing".
Buster Bailey, Barney Bigard, Irving Fazola (in his second stage) ... and
many other clarinetists were highlighted in this style.
Artie Shaw (Russian father, Austrian mother) reached prominence during the
era of the big bands, but his style was never really adapted. While Benny
Goodman´s music is fun and simple, Shaw´s music is tense, wilder, addressing
the future of Jazz.

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The first Woody Herman´s band became known for its Blues orchestrations. In
April 1939, Herman recorded what would be his greatest commercial success
and megahit Woodchoppers' Ball, where Woody starred at the clarinet, and it
included Neal Ried at trombone, Saxie Mansfield on the saxo, Steady Nelson
on trumpet and Hy White on guitar. This Swing band became very popular.
Joe Marsala was also an excellent Swing clarinet artist who would easily adapt
to other similar styles (he studied with Jimmy Noone), like Eddie Miller.
2.4.3 - The Bebop: Clarinet in danger of extinction:
1939-1940-With the Great Depression and the approach of World War II, big
bands and orchestra ballrooms disappeared and gave free way to combos with
fewer members and smaller groups (much cheaper).
These ensembles gave emphasis to the trumpet and tenor sax, with drums,
bass and piano, and the newborn electric guitar was also included. The clarinet
and trombone had no practical application in bop style because of the
complexities of this mix. This, added to the difficulties to balance these
instruments’ sounds, gradually clarinets disappear from Jazz stage time. Only J.
J. Salvo Johnson on trombone and Buddy de Franco on clarinet, were able to
adapt. The clarinet was partly replaced by the soprano sax, due to tuning and
sound quality reasons.
Buddy De Franco is one of the greatest clarinetists of all times. Until the arrival
of Eddie Daniels he was, without doubt, the most famous clarinet player in the
40s and was able to fit into more modern jazz and bebop.
It was bad luck for De Franco to be the best at an instrument that, after the
swing era, declined drastically in popularity. However, he was perhaps the only
clarinet artist of the time who was able to adapt to changes, and even during
the eighties he was the only remarkable Jazz musician who only played
clarinet. He was perhaps the only bebop clarinetist. After him, there was a big
gap in terms of clarinetists.

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There are hardly data from Jazz clarinetists who played some styles in the postbop era. Nowadays, this is luckily being recovered.


 

 


 


 


 
 
 
 
 
 
 
 Figure
 6
 Cover
 of
 Jazz
 Journal,
 1953-­‐
 D.
 Howard
 


 
2.4.4 Freejazz and Modern Jazz: Some clarinetists today.
Eric Dolphy: His musical career is very unusual.
  It was very brief and
successful. A multi-instrumentalist virtuoso, he played bass clarinet, an
instrument out of use during his days, which is currently becoming popular in
Jazz. He was also a great flute player. Dolphy, in just six years, was placed in
the avant-garde of the renewal of Jazz of the 60s, becoming a master key and
unquestioned modern Jazz master.
Pedro Iturralde: Saxophonist and occasional clarinetist, pioneer of Jazz in
Spain, along with pianist Tete Montoliu. He traveled to Europe and the United
States (Berklee, Boston) to develop his skills. He co-founded with Paco de
Lucia the Flamenco-Jazz style. Both achieved recognition in 1967 Berlin
Festival´s edition.

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John Kenneth Davern, although he mainly played in traditional Jazz and
Swing stages, his musical interests included a much wider range of styles. In
1978 he collaborated with avant-garde musicians such as Steve Lacy, Steve
Swallow and Paul Motian on an album inspired by Free Jazz, appropriately
titled Unexpected.
Michel Portal is a French clarinetist, saxophonist, composer and bandoneon
player, born in Bayonne on November 25, 1935. His musical training was
entirely classical, specializing in the clarinet repertoire with Mozart and Alban
Berg, among others. But he always maintained a clear relationship with Folk
music of the Basque country and Jazz.
He is one of the favorite clarinetists in Contemporary music (Pierre Boulez,
Stockhausen, etc.). From 1971 he founded an experimental way and open
group, “Michel Portal Unit”, which definitively enters the field of improvisation
and Jazz.
Eddie Daniels: One of the really great Jazz clarinetists. He has explored the
themes of Charlie Parker and Roger Kallaway, the Crossover and Swing.
Daniels is also a tenor saxophone performer.
Paquito D'Rivera (Francisco de Jesús Rivera Figueras) is a Cuban Jazz
musician, clarinetist and alto, tenor and soprano saxophonist. Passionate about
both Jazz and Classical music, one of the main objectives of his work is to
make the first part of the second.
He is considered one of the best Latin Jazz musicians and is a regular at Jazz
festivals across the world and in any clarinetists’ meeting.
Theo Jörgensmann is one of the most important contemporary Free Jazz
clarinetists. Usually played with artists from different musical styles. He has
played for example with John Carter, Perry Robinson, Barre Phillips, Kenny
Wheeler, Kent Carter, Vincenz Chancey, Lee Konitz and others. Mixing
elements of Jazz, Classical music, Contemporary music and Ethnic styles
without leaving his personal style.

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Louis Sclavis is a French clarinetist and saxophonist Jazz. He began studying
clarinet at age 9, before studying at the Conservatory of Lyon. Since the late
70s he has started doing concerts with the Workshop de Lyon; later it founded
together with Michel Portal and Bernard Lubat the “Brotherhood of Breath”.
He has also recorded his own albums and played on all main festivals.
Ken Peplowski is one of the best jazz clarinetist that emerged in the eighties.
He belongs to the Neoclassical stylistic movement, but Peplowski plays Jazz,
convincingly; he clearly connected to the golden age of swing instrument and
integrated the influences of Lester Young, Benny Goodman and Buddy de
Franco.
Ken Peplowski is an eclectic musician who moves somewhere between
Classical music and Jazz. His quintessential technique on the clarinet, has
placed him as one of the best current Jazz clarinetists.
Below are the names of the main clarinetists cited in this brief review where
they appear in a chronological list. You can see the difference in number from
the 40-50s with Bebop and thereafter to the present day.
In view of the data, the most probable reasons for clarinet to fall in disuse
among Jazz musicians and composers since the 40´s, with World War II and
the Bebop, is that: one hand it is true that it had more limitations than the
saxophone, especially in sound power and that was a disadvantage with the
arrival of electric instruments in the rhythmic base of the groups; and, on the
other hand, style, fashion, and criteria aesthetics had changed.
So from the light and sparkling melodies of Swing represented largely by the
clarinet the style evolved into the more elaborate melodies, charged not only of
harmony and rhythm, but more difficulty, complexity and darkeness ... Bebop
was born and clarinet was preparing to suffer a major change in its role in Jazz.

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New Orleans and Swing
Clarinetists

Bebop, Freejazz and Modern
Jazz Clarinetists

1878 – 1961 Alphonse Floristan Picou
1880-1949-Big Eye Louis Nelson
1882 -1949-George Baquet
1884-1934 Alcide “Yellow” Nunez
1887-1960 Lawrence “Duhé” Dewey
1892-1940 Johnny Dodds
1893-1933 Lorenzo Tio Jr
1893-1953 Larry Shields
1895-1944 Jimmie Noone
1895-1966 Darnell Howard
1895 –Wade Whaley
1896-1928 Jimmy O’Bryant
1897-1959-Sidney Bechet
1899–1971 Harry Shields
1899-1972 Mezz Mezzrow
1900-1968 George Lewis
1900-1972 Tony Parenti
1900-1973 Albert Nicholas
1900 - Jimmy Hartwell
1901-1948 Sidney Arodin
1901-1949 Danny Polo
1901-1967 Edmond Hall
1902-1943 Leon Roppolo
1902-1959 Omer Simeon
1904-1929 Don Murray
1904-1972 Jimmy Lytell
1904-1973 Voltaire de Faut
1906-1932 Frank Teschemacher
1906-1969 Pee Wee Russell
1906-1985 Joe Darensbourg
1907-1944 Rod Cless
1902-1967 Buster Bailey
1906-1980 Barney Bigard
1907-1978 Joe Marsala
1909-1986 Benny Goodman
1910-2004 Artie Shaw
1911-1991 Eddie Miller
1911-1987 Heine Beau
1912-1949 Irving Fazola
1912-1997 Johnny Mince
1913–1987 Woody Herman

•

1904 – 1957 Jimmy Dorsey
1917-1994 Jimmy Hamilton
1920 – 2004 John LaPorta
1921-2007 Tony Scott
1921-2008 James Peter Giuffré
1923- Buddy DeFranco
1904 – 1957 Jimmy Dorsey
1917-1994 Jimmy Hamilton
1920 – 2004 John LaPorta
1921-2007 Tony Scott
1921-2008 James Peter Giuffré
1928 - Bob Wilber
1928-1964 Eric Dolphi
1929-Pedro Iturralde
1929- Acker Bilk
1935–2006 John Kenneth Davern
1935-Woody Allen
1935- Michel Portal
1941- Eddie Daniels
1948-Paquito D’Rivera.
1948-Theo Jörgensmann
1953-Louis Sclavis
1955-Jorge Pardo
1958-Don Byron
1959-Ken Peplowsky

Note: All clarinetists listed at the beginning are in chronological order of
birth, but from Buddy de Franco, there are some that are repeated
because they started their career in a specific style and then changed to
Bebop or other style that was not Swing, Jazz or Classic-Dixie.

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3. JUSTIFICATION AND OBJECTIVES:
3.1 Why am I doing this work?
Since there are no logical reasons from a technical or expressive point of view,
and the disadvantage of clarinet sound against saxophone is not a sufficient
argument to remove this instrument from the Jazz scene, this paper wants to be
a defense of the clarinet as a dynamic and versatile instrument, able to adapt to
any style and reintegrate into the current music scene.
3.2 What do I want to achieve with this?
The main goal of this project is to promote the spreading and recovery of
clarinet in the current music scene, and more specifically, in Modern music and
Jazz style.
General audiences know this instrument for its history, and they associate it
only to Classical music. My purpose is to help different audiences to not be
surprised to see clarinetists playing Folk, Flamenco, Contemporary Jazz ... and
not just Classic Jazz or Classical Music.
To carry out this work the following elements are developed:
• Study and interpretation of various musical styles.
• Composition and adaptation of a new repertoire for the clarinet.
• Looking for an artistic voice.
• Recording the new repertoire.
• Claiming the clarinet as a versatile and dynamic instrument.

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4. PROCEDURE / METHODOLOGY:
4.1 Study and interpretation of various musical styles
The sound of the clarinet is usually described as sweet, dark and smooth, so it
is usually associated with slow, quiet and very expressive music, but this is only
the low register or chalumeau. This instrument has a great register not only in
octaves, but also in expressive characteristics.
In the middle register, the clarinet changes its sound a bit, becoming firmer and
louder, and in the high register, the sound of the clarinet is completely different
to the previous, as it is very bright, powerful, loud and even aggressive. This is
the favorite tone in the East-European cultures and styles of music as Klezmer,
Balkan and Mediterranean culture in general.
Through the study and performance of music from various cultures where the
clarinet has a leading role, as previously mentioned, I have been able to
analyze some scores and see which qualities are more common and why the
clarinet, in that style of music, has been able to achieve prominence.
My experiences with teacher Perico Sambeat and the Mediterranean
Ensemble, where we played tunes from Tunisia, Serbia, Morocco, Bulgaria and
his own compositions, as well as my collaboration and recordings in Serbian
music Jams organized by my colleague Jelena Ciric, were a big influence to me
and I could listen to this kind of music, which was a great find. Because of this I
wanted to explore and learn more about these styles.
Also, the visit of Javier Limón and the Mediterranean Institute and the
collaboration with him on recordings (of Spanish music and Arabic influence)
made me see that this could be a good way to investigate because the clarinet
fit perfectly with those kind of melodies and extreme mood swings in music,
able to move rapidly from virtuosity to a great nostalgia, pain and strength.
There were several reference books and conversations with Eastern Europeanfriends about this kind of music, and I should also mention the big number of
records and advices I received from both my colleagues and teachers.
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
19
 

 
“Why
 not
 Clarinet”
 
One of the most recommended for the analysis of this type of music books is
the "Serbian Pesmarica Naslovna-Book" a type of of Real Book of popular
songs and dances from Serbia, Montenegro and the Balkans in general.


 
 
 
 
 
 
 


 


 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Figure
 7
 Front
 and
 back
 cover
 of
 the
 Pesmarica
 Naslovna
 book.
 

But in addition, the target was also to explore new areas with clarinet, styles
where it has not been used and which I believed possible to involve clarinet.
My greatest wish was to try two styles which I have been passionate about
since childhood: Flamenco and Latin-jazz.
To achieve this, I carried out a study and interpretation of these styles and
composed and adapted some of them for clarinet.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
20
 

 
“Why
 not
 Clarinet”
 
My experiences in the Latin Jazz Ensemble and Cuban Music, with teachers
such as Víctor Mendoza or Alain Perez, as well as my collaboration with Jazz
ensembles (Mariano Steinberg) and Contemporary Jazz (Polo Orti), were
extremely helpful and helped me to develop new ideas.
Regarding my passion for Flamenco and Latin-jazz, I studied several books
about these topics (see reference chapter), and I quickly became aware that
there are many connections between both styles.
So I wanted to investigate and try my acquired knowledge through composition.
4.2 Composition and adaptation for a new clarinet repertoire: Looking for
my artistic voice, a first person perspective
Through a repertoire for this instrument composed in many styles -not only in
Classical style, but based on modern music and with a Jazzy format-,
dissemination of the clarinet’s workwould be much easier and it could also help
me find my own style and create my identity as an artist.
Here I will explain my creative process, my main influences and what my goals
were as a composer in each of the pieces composed this year.
The works are explained in some charts where I describe the main features of
each, as well as the date they were written and recorded.
The pieces I wrote under the East-European Music influence (but giving them a
more personal approach) were "Karsi-Llamas" and "Akanónisto": both were
composed in the spring semester.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
21
 

 
“Why
 not
 Clarinet”
 

PIECE
 Nº
 7
 
TITTLE
 

 
COMPOSED
 IN
 

 
INFLUENCES
 

 
RECORDING
 DATE
 

 
MUSICIANS
 

 

 

 

ENGINEER
 

 
LINK
 AUDIO
 

 
FEATURES
 

 

 

 

 

 

KARSÍ-­‐
 LLAMAS
 
February-­‐March
 2014
 
East-­‐European
 Music
 
 
April
 11th,
 2014
 
Miguel
 Ruiz
 Santos,
 Clarinet-­‐composer
 
Djudju
 Hartono,
 Piano
 
Juan
 Cristóbal
 Aliaga,
 el.
 Guitar
 
Andrea
 Fraenzel,
 Bass
 
Mikael
 Cahubert,
 Drums
 
Ilias
 Papantoniou,
 Darbuka
 
Tim
 Shull
 &
 Kyle
 Pyke
 
www.clarinetjazz.es/miguelruizsantos/media
 
-­‐
 Original
 composition
 based
 on
 the
 Greek
 modes
 and
 where
 
popular
 styles
 of
 Eastern
 Europe
 
 and
 jazz
 are
 mixed.
 
-­‐
 Many
 rhythmic
 changes
 because
 I
 intended
 to
 create
 the
 
atmosphere
 of
 dances.
 
-­‐
 Great
 contrast
 between
 rhythm
 and
 the
 different
 themes.
 
-­‐
 Form:
 INTRO-­‐A-­‐B-­‐B'-­‐SOLOS-­‐A
 
-­‐Electro-­‐acoustic
 instrumentation.
 

In this piece the goal was to give the clarinet a leading role, a role of solo and
group leader, highlighting all its technical and sound qualities and expressive
possibilities.
For this, I chose to do two main “motives” or elements: A slow one, based on
Dorian and Aeolian modes (Greek heritage) with a strong nostalgic and almost
pitiful character. The second is much more rhythmic and energetic, written in
7/8 time signature typical of the East-European Folk music and dancing.
In terms of instrumentation, as I wanted to emphasize the sound of the clarinet
but also prove that it can be a leader, I chose a combination of acoustic
instruments and some electrical and louder instruments, such as the electric
guitar and drums. In addition, I added darbuka to have that sound and "color" of
the typical eastern Folk music.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
22
 

 
“Why
 not
 Clarinet”
 

PIECE
 Nº
 8
 
TITTLE
 

AKANÓNISTO
 

COMPOSED
 
IN
 

 

April
 –May
 2014
 


 
INFLUENCES
 

Greek.Turkish
 Music
 


 
RECORDING
 
DATE
 

May
 30th,
 2014
 

MUSICIANS
 

 
 

 

 

Miguel
 Ruiz
 Santos,
 Clarinet-­‐composer
 
Djudju
 Hartono,
 Piano
 
Peter
 Connolly,
 ac
 Guitar
 
Haojun
 Qi,
 Bass
 
Alex
 Williams,
 Drums
 
Mt
 Aditya
 Srinivasan,
 Tabla
 and
 Percussion.
 

ENGINEER
 

Tim
 Schull
 &
 Ryan
 Renteria
 

LINK
 
AUDIO
 

 

www.clarinetjazz.es/miguelruizsantos/media
 

FEATURES
 

 

 

 

 

-­‐Original
 Composition
 based
 on
 oriental
 melodies
 and
 where
 
traditional
  Greek
  and
  Turkish
  rhythm
  are
  mixed
  style
  with
 
jazz
 style.
 
-­‐
 The
 rhythmic
 signature
 is
 5/8
 and
 6/8
 and
 I
 tried
 to
 use
 the
 
rhythmic
 modulation.
 
 
 This
 is
 a
 new
 concept
 for
 me.
 
-­‐
 Great
 contrast
 between
 themes.
 
-­‐Form:
 INTRO
 (Guitar
 Solo)-­‐
 A-­‐B
 B-­‐
 A-­‐
 SOLOS-­‐
 B-­‐A
 Similar
 to
 a
 
Rondo
 (Classical
 Music
 influence)
 
-­‐Acoustic
 instrumentation.
 

 


 

 
This tune was composed a little bit after the previous one, because of this,
much of these influences, and the learning acquired about music from Eastern
Europe, are still present in some elements.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
23
 

 
“Why
 not
 Clarinet”
 
In Akanónisto I tried to focus even more on rhythmic aspects of this style of
music and to use some of the concepts learned during the course, polyrhythms
and metric modulation.
This can be seen mainly in the introduction, where the guitar (starting alone)
makes a constant rhythmic motive, an ostinato. We can hear how the chords
are appearing in different parts of the bar and in different pulses, creating a
sense of loss and continuous rubato, but being rhythmic to the listener.
The rest of the song is composed in 5/8. It is a difficult piece because of its
speed and modal harmony use and we can listen the famous "Andalusian
Cadence", giving a "flamenco taste”" to the piece.
In addition to these pieces, I also composed a Jazz ballad, because the clarinet
is an instrument that has always been known for its expressiveness, and I
believed it necessary to compose a work in Jazz style that would highlight that
quality.
This ballad is special because I use an entirely classical group: the String
Quartet with Clarinet, a setting that was used also by great composers of music
history that dedicated this structure some of their best works, (as W.A Mozart
with his "Clarinet Quintet in A major, K. 581 or “Stadler Quintet,” (1789) or the
famous Johannes Brahms' quintet for Clarinet and String Quartet in B minor op.
115”, (1891) composed for clarinetist Richard Mühlfeld).
I try to mix both styles in an organic and fun piece, adding fragments from
famous classical and Jazz pieces on an established sonata structure.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
24
 

 
“Why
 not
 Clarinet”
 

PIECE
 Nº
 4
 
TITTLE
 

 

LOVE
 IN
 MARCH
 

COMPOSED
 IN
 

 

November-­‐December
 2013
 

 

INFLUENCES
 

 

Jazz
 Ballad
 and
 Classical
 Music.
 

 

RECORDING
 DATE
 

 

February
 10th,
 2013
 

 

MUSICIANS
 

 

 

 

Miguel
 Ruiz
 Santos,
 Clarinet-­‐composer
 
Fernando
 Pascual,
 violin
 
Pau
 Ruiz,
 violin
 
Xavi
 Puig,
 viola
 
Elena
 Ruano,
 cello
 

 

ENGINEER
 

 

Piereluigi
 Barberis
 &
 Kyle
 Pyke
 (Mastering)
 

 

LINK
 AUDIO
 

 

www.clarinetjazz.es/miguelruizsantos/media
 

 

FEATURES
 

 

 

 

 

 

-­‐Starting
  from
  one
  of
  the
  most
  used
  formations
  and
 
instrumentations
  in
  classical
  music,
  in
  this
  work
  I
  tried
 
compose
 something
 different.
 
 
-­‐I
  used
  the
  string
  quartet
  with
  clarinet,
  following
  the
 
footsteps
 of
 Mozart
 and
 Brahms.
 
“Love
  in
  March”
  is
  a
  jazz
  ballad
  that
  is
  special
  because
  I
 
create
  a
  game
  with
  classical
  and
  jazz
  style
  passages
  during
 
most
 of
 the
 piece.
 
-­‐Form:
 Intro-­‐A-­‐B-­‐A-­‐SOLOS-­‐A´-­‐CODA
 
 

 

The study I did of Flamenco and Latin music was another of my discoveries and
inspirations this year. Because of this study, two new songs emerged almost
simultaneously, in a style that can be classified in the genre Jazz-Fusion
"Flamincou!" and "Dos Astillas".

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
25
 

 
“Why
 not
 Clarinet”
 
The common feature is that in both pieces are mixed traditional elements of
Flamenco with elements of Latin-jazz.
In "Flamincou!" the Flamenco influence is much clearer with Bulerías rhythm
and because Spanish Folk elements appear, as the rhythm of Seguidillas
Manchegas, typical from my region.
"Dos Astillas" is more Jazzy. My intention was to mix the two types of rumba in
the world, Cuban and Flamenco Rumba. I do this by introducing a third element
that is very common in Jazz harmony , the Rhythm Changes.
A tune that inspired me for "Dos Astillas" is "Barri de la Coma", by Perico
Sambeat, in which he uses the mix of Rumba with Jazz.


 
Figure
 8
 Cover
 of
 CD
 Adamuz,
 Perico
 Samnbeat
 2010
 


 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
26
 

 
“Why
 not
 Clarinet”
 

 

 

 

 

 

 

 
PIECE
 Nº
 5
 
TITTLE
 

 
COMPOSED
 IN
 

 

FLAMINCOU!
 

INFLUENCES
 

 

Flamenco
  music,
  Spanish
  Folk
  music
  (
  Seguidillas
 
Manchegas)
 and
 Latin
 Music
 

 

RECORDING
 DATE
 

 

March
 12th,
 2014
 

 

MUSICIANS
 

 

 

 

Miguel
 Ruiz
 Santos,Clarinet-­‐composer
 
Piotr
 Orzechowsky,Piano
 
Peter
 Connolly,
 ac.
 Guitar
 
Daniel
 Toledo,Bass
 
Sergio
 Martínez,Percussion
 

 

ENGINEER
 

 
LINK
 AUDIO
 

 

Corey
 Ashe-­‐Bradford
 &
 Kyle
 Spyke
 (Mastering)
 

 
www.clarinetjazz.es/miguelruizsantos/media
 

 

FEATURES
 

 

 

 

 

 

-­‐Music
 based
 bulerías
 and
 mixed
 with
 Latin
 rhythms.
 
 
-­‐Form:
 Intro+A+B+A+C+A+SOLOS+C+A+CODA
 
-­‐Introduction
 where
 the
 instruments
 are
 presented
 
-­‐“Topic
  A”
  that
  is
  the
  link
  to
  all
  the
  different
  topics
  which
 
join
 flamenco
 harmony
 to
 the
 bulerias
 rhythm.
 
 
-­‐“Topic
 B”
 with
 Latin
 rhythms
 
-­‐“Topic
  C”
  with
  Seguidillas
  Manchegas,
  typical
  rhythm
  of
 
Spanish
 folk
 music.
 
In
  Flamincou!,
  I
  tried
  you
  combine
  two
  of
  my
  passions,
 
Spanish
 and
 Latin
 music.
 
 

 

December
 2013-­‐January
 2014
 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
27
 

 
“Why
 not
 Clarinet”
 

PIECE
 Nº
 6
 
TITTLE
 

DOS
 ASTILLAS
 

COMPOSED
 IN
 

 

January
 2014
 

INFLUENCES
 

 

Rumba
 Flamenca
 and
 Latin
 Rhythms.
 

RECORDING
 
DATE
  March
 12th,
 2014
 

 
Miguel
 Ruiz
 Santos,Clarinet-­‐composer
 
MUSICIANS
 
Piotr
 Orzechowsky,Piano
 

 
Peter
 Connolly,
 ac.
 Guitar
 
Daniel
 Toledo,Bass
 

 
Sergio
 Martínez,Percussion
 

 
ENGINEER
 

 

Corey
 Ashe-­‐Bradford
 &
 Kyle
 Spyke
 (Mastering)
 

LINK
 
AUDIO
 

 

www.clarinetjazz.es/miguelruizsantos/media
 

 
-­‐Inspired
 by"Barri
 laComa"
 (Perico
 Sambeat).
 
 
-­‐The
 
idea
  is
  mixing
  the
  typical
  “Rythm
  and
  Changes”
 

 
with
 the
 rhythm
 of
 rumba
 flamenca.
 
-­‐In
 addition
 to
 this,
 following
 my
 previous
 line
 of
 work,
 I
 
wanted
  to
  join
  the
  two
  types
  of
  rumba,
  Cuban
  and
 
Flamenca,
 making
 a
 work
 of
 Fusion
 Jazz.
 

FEATURES
 

 

 

 


 

 

 

 
A little before the composition of these two pieces, while I was studying and
playing other compositions of Latin-Jazz, in the Victor Mendoza´s ensemble,
and collaborating on projects of my classmates as the recording with Luiza
Sales of her song "A Frio" I started composing a new piece that I finished later
after the Christmas break. The name of the piece is “Pata Tiesa” and is more
clearly influenced by Bossa Nova and Brazilian music of composers like Jobim
and Joao Bosco.
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
28
 

 
“Why
 not
 Clarinet”
 

PIECE
 Nº
 3
 
TITTLE
 

PATA
 TIESA
 

COMPOSED
 IN
 

 

November
 2013-­‐
 March
 2014
 

INFLUENCES
 

 

Latin
 Jazz-­‐
 Brazilian
 music.
 

RECORDING
 
DATE
  March
 
20th
 and
 overdubs
 

 

 
Miguel
 Ruiz
 Santos,
 Clarinet-­‐composer
 
MUSICIANS
 
Peter
 
Connolly,
 ac
 Guitar
 

 

 
Haojun
 Qi,
 Bass
 
Avila
 Santo,
 Percussion
 

 

 
ENGINEER
 

 
LINK
 
AUDIO
 

 


 
Miguel
 Ruiz
 Santos
 


 

-­‐-­‐-­‐
 
-­‐This
 work
 came
 out
 of
 an
 improvisation
 and
 because
 of
 
my
 study
 of
 Latin
 music
 also.
 
 
-­‐The
  goal
  was
  to
  make
  a
  typical
  composition
  of
  Latin
 
music
  to
  absorb
  the
  elements
  of
  it
  and
  then
  be
  able
  to
 
do
 Jazz
 fusion
 tune
 with
 other
 styles.
 
 
-­‐It's
  a
  classic
  bossa
  nova,
  but
  played
  by
  Clarinet,
  a
  not
 
very
 common
 instrument
 in
 that
 style.
 
-­‐Instrumentation:
  Bb
  clarinet,
  Ac.
  Guitar,
  Bass
  and
 
Percussion
 


 


 

FEATURES
 

 

 

 

In

  addition to the original compositions I wrote to practice the acquired
knowledge and to express myself artistically, I did some arrangements where
clarinet was used as a soloist and in chamber music; in order to go on with my
goal of giving the instrument a broad new repertoire and continuing the work of
HALF PAST CLARS.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
29
 

 
“Why
 not
 Clarinet”
 

"Putting on the Ritz for Clarinets", taking this famous song by Irving Berlin in the
20s, (one of my favorites) I wanted to make an arrangement where the listener
would recognize the original song without difficulty, but fully interpreted by a
group of clarinets.
The original idea, (which I also carried out) was to make an arrangement for the
typical clarinet quartet, but could not record it because there were not enough
clarinet players at school, so I reduced the original score and I did it for Clarinet
Trio: Sopran Eb Clarinet, Bb Clarinet and Bass Clarinet.
PIECE
 Nº
 1
 
TITTLE
 

 
COMPOSED
 IN
 

 
INFLUENCES
 

 
RECORDING
 DATE
 

 
MUSICIANS
 

 

 

 
ENGINEER
 

 
LINK
 AUDIO
 

 
FEATURES
 

 

 

 

 

 

PUTTING
 ON
 THE
 RITZ
 FOR
 CLARINETS
 
September
 2013
 

 
Dixieland,
 Classic
 Jazz
 

 
October
 3rd,
 2013
 

 
Miguel
 Ruiz
 Santos,
 Bb
 Clarinet-­‐arranger
 
Beth
 Michelle
 Schofield,
 Eb
 Sopran
 Clarinet
 
Nick
 Zeigler,
 Bass
 Clarinet
 
Kyle
 Pyke
 

 
www.clarinetjazz.es/miguelruizsantos/media
 
-­‐The
  goal
  in
  this
  piece
  was
  to
  give
  prominence
  to
  the
 
clarinet
 in
 a
 jazz
 context.
 
-­‐This
  is
  an
  arrangement
  of
  a
  known
  jazz
  standard
  only
 
for
 clarinets,
 for
 a
 Clarinet
 group.
 
-­‐My
  first
  idea
  was
  to
  do
  it
  for
  a
  clarinet
  quartet,
  but
 
there
 were
 not
 clarinet
 players
 enough
 at
 school,
 and
 I
 
tried
 to
 reduce
 it
 for
 a
 trio.
 
-­‐The
  original
  form
  of
  topic
  is
  maintained,
  but
  at
  the
  end
 
there
 is
 an
 original
 coda.
 
(No
 SOLOS
 section)
 
-­‐Instrumentation:
  Eb
  Sopran
  Clarinet-­‐Bb
  clarinet-­‐Bass
 
Clarinet
 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
30
 

 
“Why
 not
 Clarinet”
 
Once recorded “Putting on the Ritz for Clarinets”, soon I thought I could change
this and try it with a different instrumentation. The change should not be very
substantial, because I´m happy with the arrangement for clarinets, but wanted
to try it with other instrumentation.
This way came Putting on the Ritz for Combo, whose instrumentation changed
to: Bb Clarinet, Alto Sax, Doublebass and Drumset.
PIECE
 Nº
 2
 
TITTLE
 

 
COMPOSED
 IN
 

 
INFLUENCES
 

 
RECORDING
 DATE
 

 
MUSICIANS
 

 

 

 
ENGINEER
 

 
LINK
 AUDIO
 

 
FEATURES
 

 

 

 

 

 

PUTTING
 ON
 THE
 RITZ
 FOR
 COMBO
 
September-­‐
 October.
 2013
 

 
Dixieland,
 Classic
 Jazz
 

 
October
 29th,
 2013
 

 
Miguel
 Ruiz
 Santos,
 Clarinet-­‐arranger
 
Alexey
 León,
 Alto
 Sax
 
Juan
 Cristóbal
 Aliaga,
 Guitar
 
Max
 Ridley,
 Bass
 
Rodrigo
 Malvido,
 Drums
 

 
Kyle
 Pyke
 

 
www.clarinetjazz.es/miguelruizsantos/media
 

 
-­‐This
 is
 a
 version
 for
 a
 jazz
 combo
 with
 the
 clarinet
 as
 a
 
leader.
 
-­‐With
  this
  kind
  of
  arrangements,
  I
  can
  try
  how
  clarinet
 
works
 in
 different
 settings,
 with
 other
 instruments.
 
-­‐The
  form
  of
  the
  Tune
  in
  this
  arragement
  is
  longer,
  with
 
SOLOS
 section:
 
Intro-­‐A-­‐A-­‐B-­‐A-­‐SOLOS-­‐B-­‐A-­‐C-­‐A-­‐Interlude-­‐A-­‐B-­‐CODA.
 
-­‐Instrumentation:
 Bb
 clarinet-­‐Alto
 Sax-­‐Doublebass-­‐
Drums
 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
31
 

 
“Why
 not
 Clarinet”
 
4.3 Claiming the clarinet as versatile and dynamic instrument.
The idea of this section is to let the audience know about the possibilities the
instrument has in terms of sound level and expressive resources.
Clarinet is an instrument suitable in any type of music and, unfortunately, has
lost much of its importance in the world of jazz because it did not adapt in time.
Nowadays there are some clarinetists who play other kinds of music with this
instrument but, sadly, we are still not enough and we have less relevance than
what was had in the past as the Swing era.
In order to join all these efforts and to put many modern clarinetists in contact
with each other, especially those who are not playing only classical and
symphonic music; I decided to create a specialized web site on this subject, a
website dedicated to the modern clarinet world.
The name of the web site is Clarinetjazz.es and the goal is to consolidate as a
web leader in information and material for modern clarinet.


 
Figure
 9
 Original
 Logo
 of
 web
 clarinetjazz.es
 


 
Clarinetjazz.es aims to be a platform and a meeting point for clarinetists, but not
only this, it is a page for sharing and spreading, dedicated to all music lovers in
general and clarinets in particular .
For the creation of this website, I took some other models dedicated to classical
clarinet as "Clariperu", "jamesdanderfer.com"; from the clarinet in general as

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
32
 

 
“Why
 not
 Clarinet”
 
"allaboutclarinetandbassclarinet.aspa";
"saxopedia.com";

and

for

other

instruments

as

and from several blogs in which I collected much of the

information included in clarinetjazz.es (see References section).
At the same time I analyzed other websites in search for ideas for the format of
this new website.
I also noted the topics that are not clearly seen and the deficiencies or lack of
materials that there are about many topics related to the modern clarinet as
specialized interviews, scores, articles of interest or even contact with other
clarinetists.
Clarinetjazz.es is the only site specialized in Jazz and Contemporary music for
clarinet.
It is in English and Spanish and has all kinds of original content and compilation
of various sites related. All in it is of free access.
Clarinetjazz.es also helps me expose my music and my work, making use of
new technologies to reach a greater number of people interested and to get
closer to the general public.
Clarinetjazz.es is an ambitious project, full of possibilities that comes to fill a gap
that existed until now. It is also a project for my professional future.
The website is structured in the following way:

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
33
 

 
“Why
 not
 Clarinet”
 
-HOMEPAGE:
Through it we can go to the two different sections that form the web: the content
and material of modern clarinet, and my personal section.


 

 
Figure
 10
 Image
 web-­‐clarinetjazz.es/Home
 


 
As you can see, there is the option of the two languages and the content of
each of the sections is briefly explained.
The logo of the web is a design of mine, made especially for this site. It includes
bass clarinet in order to include all the instruments of the clarinet family.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
34
 

 
“Why
 not
 Clarinet”
 
-ABOUT CLARINETJAZZ. THE PROJECT:


 


 

 


 

Figure
 11
 Image
 web
 clarinetjazz.es/clarinetjazz
 


 
Once is selected Clarinetjazz.es section, we access the new page of this part
where how the web is articulated is explained, the project and the contents
menu are included.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
35
 

 
“Why
 not
 Clarinet”
 
-CLARINETJAZZ MENU:


 
Figure
 12
 Image
 web-­‐clarinetjazz.es-­‐Clarinetjazz
 Menu

The different sections that clarinetjazz.es has, are:
• Home, in which you can go directly to the home page of clarinetjazz seen
before.
• Media, this page mainly includes a selection of videos of live concerts,
recordings and music videos of clarinetists who are today performing in the
current music scene.
• Material, where one can find all kinds of educational and interesting material
for those clarinetists and curious people who are interested in the main topic of
the web.
Here you can find great clarinetists’ interviews, master classes, interesting
articles, scores, transcriptions, all for free.
• Links, where there is a small list of interesting sites related to the clarinet. The
purpose of this section is that new groups of clarinet players who want to be
into the current music scene are able to share the link for their webs, their music
and contact.
• Contact: This section takes you directly to my personal section for people who
want to get in touch with the web, receive a warm, friendly and personal
treatment. Furthermore, both sections are interconnected with their respective
logos and you can go from one to the other directly at each moment.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
36
 

 
“Why
 not
 Clarinet”
 
-PERSONAL-SECTION OF THE WEB:
The aim of this section is to show my music to the general public and to
promote my place in the current music scene as a clarinetist and composer,
spreading and supporting my instrument.


 

 
Figure
 13
 
 Image
 web-­‐clarinetjazz.es/miguelruizsantos
 


 
In this section, users can access all my personal information, my music and
scores and, of course, my contact.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
37
 

 
“Why
 not
 Clarinet”
 
-MIGUEL RUIZ SANTOS/ MENU:


 
Figure
 14
 
 Image
 web-­‐clarinetjazz.es-­‐miguelruizsantos-­‐menu
 


 
• Home: Is the last picture. Here you can access the other sections of the
website as well as clarinetjazz.es sections.
• Biography: In this section, you can read my Bio, you can download my
Curriculum Vitae and see my picture.
• Media: Here you have access to all my recordings in streaming. You also can
download them if you wish.
• Sheet Music: In this section I put the work I have made this year and some
great solo transcriptions of Jazz clarinetists.
• Contact: This section provides direct access to me via e-mail. The user also
has access to my Facebook profile.


 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Figure
 15
 
 Image
 web
 clarinetjazz.es-­‐contact
 


 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
38
 

 
“Why
 not
 Clarinet”
 
-MY COMPOSITIONS:
I think it is vital for a performer and composer that the audience knows your
work not only because you play it, but also because there are other players who
perform your music. In this way the diffusion of my music as well as the modern
clarinet is ver important.
That is why I created a special section where I make my music available and
offer some solo-transcriptions of the best Jazz clarinetists in history.
The intention is also that other composers for clarinet are encouraged to do the
same and, either through this website or any other, it becomes much easier to
get materials and works for modern clarinet in these styles, expanding the new
repertoire.


 

 
Figure
 16
 Image
 web-­‐clarinetjazz.es-­‐miguelruizsantos-­‐Sheet
 Music
 


 

 

 

 

 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
39
 

 
“Why
 not
 Clarinet”
 

 
-MY RECORDINGS:
In addition to showing and advertising the compositions in written format
through the scores, I have also taken advantage of the resources Berklee
College of Music has provided to record many of them, including almost all my
compositions.
Today, it is easier to promote your music directly, hearing, that reading.
There are many people who can´t read music and perhaps they may be
interested in my work. It is also easier that this music reaches more clarinetists
through recordings. Once they have listened to it, they might
  like
  it
  and
 
  decide
to play it.
For this reason, and using new technologies, I also put all the recordings to
listen "in streaming" through this website, completely free of charge.


 

 
Figure
 17
 
 Image
 web-­‐clarinetjazz.es-­‐miguelruizsantos-­‐media

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
40
 

 
“Why
 not
 Clarinet”
 
5. CONCLUSIONS
After working on this paper and my experience in the last year, my main
conclusion is that the clarinet is a very dynamic and versatile instrument.
It is an instrument that has many virtues in technical and expressive resources
which make it a suitable instrument to fit in any type of music.
Due to the different circumstances that are explained in this paper it was
forgotten in the Jazz scene and replaced, but there is no other instrument with
its peculiar timbre and able to bring that special sound to any setting in which it
takes part.
Also, thanks to work done on the web, it can be seen that currently, little by
little, the clarinet is recovering the role and importance it once had. My intention
is to follow this way, making my spot in current modern music, and contributing
with my work to this recovery effort.
This work also shows several alternatives for the role everyone connects the
clarinet with: Classical music; showing many styles in which the clarinet can be
part of different styles of music and express itself artistically.

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
41
 

 
“Why
 not
 Clarinet”
 
REFERENCES:
-Bibliography:
-BERENDT, Joachim E. El jazz: origen y desarrollo, Fondo de Cultura
Económica. Madrid, 1986.
-CARLES, Phillipe, CLERGEAT, André y COMOLLI, Jean-Louis. Dictionaire du
jazz, Robert Laffont Edt., París, 1988.
-CIFUENTES, Juan Claudio “Cifu” el gran jazz, - Ediciones del Prado, España,
1995
-DÍAZ LOBATÓN, Víctor. La armonía en el flamenco, Ed. QVE, Logroño, 2010
-FERNÁNDEZ, Lola. Teoría musical del flamenco, Ed.Acordes, San Lorenzo
del Escorial (Madrid), 2004.
-FUENTES, José. Paco de lucía tocando a Camarón, estudio de estilo, Ed.
Nueva Carisch España, Madrid, 2008.
-GIOIA, Ted, The history of Jazz, Oxford University Press, Oxford, 1997
- KERNFELD, Barry Dean , New Grove Dictionary of Jazz, Macmillan, London,
2002,
-MCGILL, Guillermo. Flamenco jazz-real book, Ed. Flamenco Live, Madrid,
2006.
-MEKALIAN

David

"Dixieland

Jazz

-

Pete

Fountain

Discography".

Petefountain.blogspot.com. Retrieved 2012-04-01.
-OJESTO, Pedro. Las claves del flamenco, Ed Fundación Autor, Madrid 2008.
- RIAMBAU, Joan , La discoteca ideal del Jazz, - Editorial Planeta, Madrid,
1995
-TORIJANO, Carlos. Iniciación al piano flamenco-palos fundamentales del
grupo de la soleá, Ed. Carissh, Madrid, 2008.
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
42
 

 
“Why
 not
 Clarinet”
 
-Webgraphy:

La
 mar
 de
 músicas
 
 
http://eibarkolasalleirratia.org/lamardemusicas/?tag=klezmer
 

Paquito
 D’Rivera
 
 

 http://www.paquitodrivera.com/
 
Clariperu
 

 http://www.clariperu.org/Biografia_DeFranco.html
 
Apolo
 y
 Baco.-­‐Jazz,
 vinos
 y
 literatura
 
http://www.apoloybaco.com/ericdolphybiografia.htm
 
http://www.apoloybaco.com/kenpeplowskybiografia.htm
 
http://www.apoloybaco.com/paginamaestrajazz.htm
 

Wikipedia
 
http://es.wikipedia.org/wiki/Categor%C3%ADa:Clarinetistas_de_jazz_de_Estados_Uni
dos
 

Buddy
 de
 Franco
 
http://www.buddydefranco.com/
 

Swing
 music
 
http://www.swingmusic.net/Shaw_Artie.html
 

Diario
 digital
 de
 antiguos
 alumnus
 del
 INAP-­‐
 Administración
 digital
 
http://www.administraciondigital.es/index.php?option=com_k2&view=item&id=164:e
l-­‐clarinete-­‐en-­‐el-­‐jazz-­‐actual
 

Música
 de
 Jazz
 
http://musicadejazz.blogspot.com.es/2012/04/stan-­‐hasselgard-­‐nacio-­‐en-­‐
sundsvall.html
 

Stanford
 University
 Libraries
 
http://riverwalkjazz.stanford.edu/program/tio-­‐family-­‐new-­‐orleans-­‐clarinet-­‐dynasty
 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
43
 

 
“Why
 not
 Clarinet”
 

APPENDIXES
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
44
 

 
“Why
 not
 Clarinet”
 


 


 

 

 
INTERVIEWS
 

 


 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
45
 

 
“Why
 not
 Clarinet”
 

ENTREVISTA
 

 

JUAN
 LUÍS
 RAMÍREZ:
 

 
“ME
 GUSTA
 EL
 JAZZ
 PORQUE
 NO
 PRETENDE
 CREAR
 CLONES”
 
Por
 Miguel
 Ruiz
 Santos
 
Maquetación:
 
 
M.
 Ángeles
 Santos
 

 

Nace
  en
  Guipúzcoa.
  Estudia
  Grado
  Elemental
  de
 
clarinete
  en
  el
  Conservatorio
  de
  Arganda
  del
  Rey
 
con
  Francisco
  Gutiérrez
 y
  Félix
 Jiménez
  y
  obtiene
 
el
  Grado
  Medio
  y
  Superior
  con
  Andrés
  Zarzo
  y
 
Justo
  Sanz
  en
  el
  Conservatorio
  Superior
  de
  Música
 
de
  Madrid.
  Asimismo,
  ha
  realizado
  estudios
  de
 
Dirección
 de
 Coros.
 
Desarrolla
  una
  gran
  actividad
  musical
  en
 
agrupaciones
 
de
 
cámara
 
y
 
conjuntos
 
instrumentales:
  Banda
  Municipal
  de
  Arganda
  del
 
Rey,
  Grupo
  Hindemith,
  ”Plural
  Ensemble”
  de
 
música
  contemporánea,
  Cuarteto
 Tetragrama,
  Dúo
 
Koldobika-­‐Ramírez
 y
 grupo
 de
 jazz
 “La
 Diligencia”,
 
entre
  otros.
  Forma
  parte
  de
  la
  dirección
  del
 
proyecto
 “Arte
 y
 Música”
 de
 Escuelas
 de
 Música
 de
 
la
  Comunidad
  de
  Madrid,
  dirigiendo
  conciertos
 
pedagógicos
  y
  la
  Banda
  Comarcal
  del
  Sureste
 de
  la
 
Comunidad.
 
Estudia
  improvisación
  con
  Tom
  Hornsby
  en
  la
 
Escuela
 de
 Música
 Creativa,
 donde
 también
 trabaja
 
actualmente,
  desde
  hace
  casi
  una
  década,
  como
 
profesor
  de
  Clarinete
  y
  dirigiendo
  la
  "Basic
  Big
 
Band"
  de
  alumnos.
  Asimismo,
  es
  miembro
  de
  la
 
“Creativa
  Jazz”
  y
  dirige
  la
  Banda
  Municipal
  de
 
Arganda
 del
 Rey.
 


 

 

 


 

 

 

 

 

 

 

 

 


 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
46
 

 
“Why
 not
 Clarinet”
 
-­‐Para
 mí,
 para
 los
 que
 te
 conocemos,
 eres,
 lo
 primero,
 un
 gran
 clarinetista
 de
 
jazz
 y
 clásico,
 pero
 además
 eres
 profesor,
 amigo,
 compañero
 y
 entusiasta
 de
 
todo
  lo
  que
  haces.
  Un
  músico
  total
  y
  con
  mayúsculas…
  pero
  ¿Cómo
  te
 
definirías
 tú
 
 como
 músico?
 
Es
  una
  satisfacción
  que
  me
  veas
  así.
  Me
  abruma
  la
  presentación.
  No
  sé
  cómo
 
definirme
  en
  pocas
  palabras.
  La
  música
  en
  general,
  moderna
  o
  clásica,
  tiene
 
muchos
 enfoques
 posibles.
 Me
 he
 relacionado
 tanto
 con
 la
 interpretación
 como
 con
 
la
 composición,
 la
 improvisación
 y
 la
 docencia.
 Es
 una
 suerte
 poder
 compartir
 mi
 
experiencia
 y
 llegar
 al
 resto
 de
 la
 gente.
 Me
 siento
 un
 privilegiado
 por
 ser
 músico,
 o
 
por
  dedicarme
  a
  esto
  de
  la
  música.
  Realmente,
  no
  sé
  en
  qué
  momento
  uno
  es
 
músico.
  Algunos
  alumnos
  que
  vienen
  a
  mis
  clases
  piensan
  que
  ya
  están
  ahí,
  ya
  han
 
tocado
 y
 ya
 son
 músicos.
 Hay
 gente
 que
 se
 llama
 así
 sin
 tener
 mucho
 talento,
 y
 creo
 
también
 que
 hay
 mucha
 gente
 por
 la
 calle
 con
 mucho
 talento.
 Yo
 me
 defino
 como
 
un
  músico
  apasionado,
  o
  como
  un
  apasionado
  por
  la
  música,
  pero
  no
  dejo
  de
 
sentirme
 como
 un
 aficionado
 que
 tiene
 la
 suerte
 o
 el
 privilegio
 de
 dedicarse
 a
 ello.
 
-­‐¿Es
 una
 suerte
 ser
 músico?
 
Sí.
 Bueno,
 la
 suerte
 o
 la
 desgracia,
 porque
 tal
 y
 como
 está
 el
 Mercado…
 Pero
 como
 
es
 algo
 tan
 enriquecedor,
 me
 siento
 afortunado
 y
 estoy
 
 superenganchado..
 
-­‐¿Cómo
  fueron
  tus
  inicios
  en
  la
  música
  más
  moderna
  y
  en
  el
  jazz?
  ¿Por
  qué
 
elegiste
 ese
 camino?
 
Hay
  llamadas
  interiores
  inevitables.
  De
  pronto
  uno
  se
  descubre
  disfrutando
  con
 
algo,
  descubre
  que
  hay
  algo
  que
  le
  cautiva
  y
  le
  deja
  privado
  cuando
  lo
  escucha.
 
Creo
 que
 sabes
 de
 lo
 que
 hablo,
 porque
 a
 ti
 te
 ha
 pasado
 algo
 parecido.
 En
 su
 día,
 
cayó
 en
 mis
 manos
 música
 de
 los
 años
 30,
 el
 swing.
 Yo
 tocaba
 entonces
 el
 clarinete,
 
y
 me
 vi
 participando
 en
 algo
 así.
 Cuando
 se
 mete
 esa
 semillita
 en
 nosotros,
 empieza
 
a
  germinar
  muy
  rápido
  y
  pasan
  muchas
  cosas.
  La
  maravilla
  es
  que
  después
  de
 
muchos
  años
  me
  está
  pasando
  algo
  que
  en
  su
  día
  soñé.
  Supe
  que
  quería
  hacer
  este
 
tipo
 de
 música,
 me
 imaginaba
 tocando
 en
 una
 big
 band,
 en
 cualquier
 formación
 que
 
tuviera
  mucha
  energía,
  mucha
  fuerza,
  con
  el
  clarinete
  expresando
  todos
  los
 
matices
 que
 puede
 tener
 este
 instrumento.
 
-­‐Pero
 contando
 con
 una
 formación
 clásica.
 
Claro.
 Mi
 profesor
 me
 recomendó
 que
 siguiera
 mi
 formación
 en
 música
 clásica,
 por
 
todos
  los
  beneficios
  que
  me
  podía
  reportar.
  Y
  así
  lo
  hice,
  tocando
  un
  repertorio
 
clásico
  que
  también
  he
  disfrutado
  mucho.
  Me
  gradué
  en
  el
  Superior,
  pero
  al
 
terminar,
  quise
  tomar
  contacto
  con
  el
  mundo
  del
  jazz.
  Mi
  sorpresa
  fue
 
encontrarme
  con
  que
  no
  había
  una
  infraestructura
  creada
  en
  el
  sistema
  educativo.
 
Tuve
  que
  diseñarme
  mi
  propio
  itinerario,
  aunque
  ya
  antes
  estaba
  siempre
 
estudiando
 y
 había
 tenido
 contactos
 y
 experiencias
 con
 distintos
 grupos
 de
 jazz.
 
-­‐Eres
  profesor
  de
  la
  Escuela
  Creativa
  y
  también
  del
  Conservatorio
  ¿Cómo
  ves
 
el
 futuro
 del
 jazz
 desde
 el
 punto
 de
 vista
 de
 la
 Educación?
 

 Hay
  un
  terreno
  amplísimo,
  porque
  está
  todo
  sin
  construir,
  y
  creo
  que
  tenemos
 
unas
 posibilidades
 de
 desarrollo
 impresionantes.
 Soy
 una
 persona
 positiva,
 aunque
 
no
  puedo
  obviar
  que
  el
  mercado
  de
  la
  música
  está
  en
  crisis.
  Pero
  entiendo
  que
  a
 
nivel
  formativo,
  está
  todo
  por
  hacer,
  todo
  en
  nuestras
  manos,
  en
  nuestra
 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
47
 

 
“Why
 not
 Clarinet”
 
imaginación
  y
  en
  nuestra
  energía.
  Es
  una
  pena
  que
  España
  no
  esté
  a
  la
  altura
  de
 
otros
 países
 de
 Occidente
 en
 estos
 proyectos
 educativos,
 pero
 por
 otra
 parte,
 soy
 
consciente
 de
 que
 es
 algo
 que
 le
 toca
 desarrollar
 a
 nuestra
 generación.
 
-­‐Has
 participado
 en
 muchos
 proyectos
 para
 divulgar
 el
 jazz.
 Cada
 vez
 es
 más
 
común
  el
  patrocinio
  privado
  de
  los
  festivales
  ¿Crees
  que
  el
  Estado
  debería
 
involucrarse
 y
 colaborar
 más?
 
Es
  complicado.
  Estamos
  en
  un
  momento
  delicado.
  El
  modelo
  que
  teníamos
  hasta
 
ahora,
 se
 agota.
 Escuchamos
 continuamente
 que
 no
 hay
 dinero.
 En
 este
 país
 hemos
 
gozado
  de
  unos
  Gobiernos
  que
  han
  hecho
  de
  la
  Educación
  y
  la
  Sanidad
  una
 
cuestión
 de
 prioridad
 social.
 Y
 de
 la
 Cultura.
 Te
 pongo
 un
 ejemplo,
 mira
 Cuba,
 una
 
sociedad
  pobre
  pero
  con
  una
  riqueza
  cultural
  descomunal.
  En
  nuestro
  país
  no
 
hemos
  hecho
  un
  buen
  uso
  de
  los
  recursos
  que
  el
  estado
  nos
  ha
  dado,
  y
  estamos
 
pagando
  justos
  por
  pecadores.
  No
  se
  han
  construido
  estructuras
  sólidas
  y
  no
 
hemos
  sabido
  buscar
  alternativas
  a
  nivel
  de
  recursos.
  Mira
  el
  fútbol,
  el
  baloncesto,
 
los
 rallyes,
 todos
 tienen
 patrocinadores
 privados
 y
 a
 nadie
 le
 sorprende.
 Igual
 con
 
la
 música
 pasará
 eso
 también.
 
-­‐Es
 algo
 que
 se
 ha
 hecho
 en
 otros
 sitios.
 
Sí,
  en
  otras
  culturas
  como
  la
  anglosajona,
  no
  se
  concibe
  que
  sea
  el
  Estado
  quien
 
ponga
 en
 marcha
 uno
 de
 estos
 proyectos
 pedagógicos.
 Creo
 que
 esta
 será,
 al
 final,
 
la
 fórmula
 por
 la
 que
 tengamos
 que
 pasar
 todos.
 Hay
 que
 crear
 mercados
 y
 afición.
 
España
  tiene
  un
  problema
  de
  cultura
  musical.
  Cada
  vez
  hay
  más
  músicos.
  Un
 
proyecto
  precioso,
  que
  son
  las
  Escuelas
  Municipales
  de
  Música,
  está
  dando
  los
 
últimos
 coletazos,
 y
 eso
 es
 muy
 triste.
 
-­‐Volvemos
  a
  ti.
  Has
  tocado
  con
  muchos
  grupos,
  tanto
  de
  clásico
  como
  jazz,
 
has
 conocido
 a
 grandes
 músicos,
 ¿Quién
 te
 ha
 influido
 más?
 
 
Cada
 persona,
 y
 cada
 tipo
 de
 música,
 aportan
 algo
 exclusivo
 y
 particular.
 Me
 gusta
 
el
  jazz
  porque
  no
  pretende
  crear
  clones,
  busca
  lo
  que
  cada
  cual
  pueda
  aportar,
  sus
 
sonidos
  particulares.
  He
  tenido
  muchas
  influencias,
  desde
  mis
  primeros
 
profesores,
 Francisco
 Gutiérrez,
 que
 fue
 capaz
 de
 inspirarme
 y
 meterme
 ese
 amor
 
al
  clarinete,
  y
  luego
  Teodoro
  Vinagre,
  profesor
  de
  percusión
  y
  ritmo
  que
  hacía
 
cosas
 extraordinarias
 en
 sus
 clases
 o
 Dan
 Goulding,
 pedagogo
 excepcional
 de
 USA,
 
Tom
  Horsby,
  actual
  director
  de
  la
  Escuela
  Creativa.
  Me
  dejo
  mucha
  gente.
  He
 
tocado
 con
  músicos
  excepcionales,
 que
 te
 hacen
 sentirte
 como
 si
 estuvieras
 dentro
 
del
 disco.
 Quizá
 Buddy
 de
 Franco,
 referencia
 para
 el
 clarinete,
 ha
 sido
 el
 que
 más
 
me
  ha
  influido,
  incluso
  más
  que
  Goodman
  por
  el
  tipo
  de
  estética
  y
  estilo
  que
  él
 
hacía
 en
 su
 época
 y
 con
 el
 clarinete
 y
 quizá
 más
 también
 que
 Eddie
 Daniels,
 uno
 de
 
los
  más
  famosos
  hoy
  en
  día.
  Y
  luego
  están
  los
  otros,
  los
  que
  nunca
  conociste,
  los
 
que
 escuchaste
 tantas
 veces.
 Los
 que
 enseñan,
 los
 que
 escuchas,
 con
 los
 que
 tocas,
 
todos
 te
 aportan
 mucho.
 
-­‐¿Realmente
  hay
  tanta
  diferencia
  de
  estilos
  en
  la
  música?
  Dicho
  de
  otra
 
forma,
 ¿Qué
 parte
 del
 clásico
 está
 más
 cerca
 del
 jazz,
 y
 viceversa?
 
Los
 prejuicios
 están
 muy
 extendidos
 a
 todos
 los
 niveles.
 Lo
 que
 nos
 da
 la
 cultura
 es
 
viajar
  y
  conocer
  para
  eliminarlos.
  La
  música
  es
  con
  mayúsculas,
  y
  ahí
  cabe
  todo.
 
Nos
 empeñamos
 en
 poner
 demasiados
 sellos,
 “esto
 es
 bueno,
 esto
 no
 lo
 es,
 esto
 es
 
mejor”...
  Particularmente,
  me
  siento
  un
  ignorante,
  estoy
  seguro
  de
  que
  desconozco
 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
48
 

 
“Why
 not
 Clarinet”
 
más
  cosas
  de
  las
  que
  puedo
  llegar
  nunca
  a
  conocer.
  La
  música,
  según
  la
  vas
 
trabajando,
 te
 va
 haciendo
 más
 consciente
 de
 tus
 progresos,
 pero
 también
 de
 tus
 
limitaciones.
  Es
  un
  arte
  con
  mayúsculas,
  en
  la
  que
  el
  jazz
  es
  un
  estilo
  más
  entre
 
tantos,
 es
 un
 lenguaje
 muy
 concreto
 que
 ha
 tenido
 un
 desarrollo
 descomunal,
 por
 
haber
  sido
  capaz
  de
  fundir
  dos
  culturas,
  la
  africana
  y
  la
  europea,
  en
  otro
 
continente,
 lo
 que
 fue
 una
 explosión
 tremenda.
 
-­‐Las
 mezclas,
 al
 final,
 dan
 un
 buen
 resultado…
 
Claro,
 aquellas
 músicas,
 aquel
 mestizaje,
 que
 es
 lo
 que
 hace
 las
 cosas
 grandes,
 ha
 
dado
  lugar
  a
  que
  el
  jazz
  sea
  algo
  más
  que
  música.
  Aquí
  nos
  ha
  perjudicado
  la
 
tradición,
 que
 apunta
 a
 que
 todo
 lo
 que
 no
 es
 formal,
 no
 es
 organizado,
 no
 es
 arte.
 
Cada
 vez
 somos
 más
 los
 que
 nos
 quitamos
 el
 sombrero
 no
 solo
 ante
 una
 persona
 
formada
 en
 Cambrigde,
 sino
 ante
 el
 que
 toca
 el
 sitar
 en
 cualquier
 calle
 y
 no
 tiene
 
formación
 académica.
 Somos
 capaces
 de
 admirar
 el
 arte
 en
 sí,
 en
 el
 estado
 en
 que
 
se
 encuentre.
 El
 academicismo
 ha
 hecho
 mucho
 daño
 en
 este
 país.
 Y
 por
 otra
 parte,
 
a
  mí
  me
  sorprendió
  mucho
  cuando
  empezaba
  en
  la
  música
  moderna,
  comprobar
 
cómo
  también
  había
  prejuicios
  hacia
  lo
  clásico,
  a
  los
  que
  algunos
  consideran
 
encorsetados,
  sin
  capacidad
  de
  improvisar
  o
  de
  tocar
  sin
  un
  papel
  delante.
  Son
 
tópicos
 que
 nuestras
 generaciones
 tienen
 que
 empezar
 a
 destruir…
 
-­‐Has
  compaginado
  siempre
  jazz
  y
  clásico.
  Desde
  el
  punto
  de
  vista
  técnico,
 
¿Qué
 te
 hace
 cambiar
 de
 estilo?
 ¿El
 material,
 la
 forma
 de
 interpretar?
 
Bueno,
  uno
  siempre
  tiene
  la
  sensación
  de
  que
  cuando
  habla
  mucho
  un
  idioma,
 
pierde
 el
 otro.
 No
 debería
 ser
 algo
 imposible
 de
 combinar,
 de
 hecho,
 es
 algo
 que
 yo
 
hago
 continuamente,
 pero
 es
 cierto
 que
 cada
 estilo
 tiene
 un
 lenguaje
 muy
 marcado
 
hacia
 sitios
 distintos.
 A
 veces,
 cuando
 estoy
 una
 temporada
 larga
 trabajando
 jazz,
 
siento
  que
  pierdo
  cosas
  al
  volver
  al
  clásico,
  y
  viceversa.
  El
  músico
  tiene
  que
  ser
 
flexible,
 tener
 capacidad
 de
 ir
 de
 uno
 a
 otro
 estilo.
 Hay
 que
 hablar
 los
 dos
 idiomas
 
permanentemente.
 
-­‐O
 sea,
 que
 no
 se
 trata
 de
 cambiar
 de
 material,
 sino
 de
 buscar
 y
 tener
 claro
 lo
 
que
 buscas.
 
El
 material
 nos
 condiciona,
 pero
 hay
 que
 buscar
 el
 que
 nos
 permita
 trabajar
 en
 un
 
campo
 más
 amplio.
 Yo
 tengo
 la
 suerte
 de
 haber
 encontrado
 ese
 material
 que
 hace
 
posible
 estar
 de
 una
 manera
 digna
 en
 ambos
 ámbitos..
 
-­‐Tocas
 también
 saxofón
 ¿Con
 cuál
 de
 los
 dos
 instrumentos
 te
 encuentras
 más
 
cómodo,
 sobre
 todo
 en
 el
 jazz?…
 
El
  clarinete
  es
  mi
  lengua
  materna.
  Con
  el
  saxo,
  tengo
  que
  tener
  el
  cerebro
  dividido
 
en
  dos
  partes,
  una
  parte
  escucha
  y
  otra
  traduce.
  Empecé
  a
  cogerle
  el
  punto
  al
 
saxofón
 después
 de
 cinco
 años
 de
 tocarlo
 casi
 permanentemente.
 Pero
 si
 tengo
 que
 
decir
 la
 verdad,
 me
 siento
 clarinetista
 que
 dobla
 al
 saxofón.
 Lo
 que
 me
 fluye
 a
 mi
 es
 
el
  clarinete,
  sobre
  todo
  el
  clarinete
  bajo,
  que
  es
  el
  que
  más
  estoy
  trabajando
  y
  el
 
que
  me
  ofrece
  más
  posibilidades,
  entre
  otras
  cosas
  porque
  no
  está
  tan
 
estereotipado
 como
 el
 clarinete
 soprano..
 
-­‐Hablas
 de
 doblar
 saxofón
 con
 clarinete
 ¿El
 tipo
 de
 instrumento
 determina
 la
 
interpretación
 y
 la
 improvisación?
 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
49
 

 
“Why
 not
 Clarinet”
 
Son
  muchas
  cosas,
  el
  instrumento,
  pero
  también
  la
  música
  que
  has
  escuchado,
  la
 
que
 has
 tocado,
 los
 profesores,
 los
 discos
 que
 has
 transcrito…Mis
 inicios
 en
 el
 jazz
 
fueron
  principalmente
  de
  la
  mano
  de
  saxofonistas.
  Escuche
  mucho
  a
  los
  clásicos,
 
como
  Dexter
  Gordon,
  Mc
  Hopkins,…
  los
  de
  antes
  de
  Charlie
  Parker,
  porque
  creo
 
que
  es
  importante
  empezar
  la
  casa
  por
  los
  cimientos.
  Las
  grandes
  figuras
 
interpretaban
  con
  saxofón.
  Claro
  que
  también
  había
  clarinetistas,
  pero
  por
 
circunstancias,
  transcribí
  mucho
  más
  a
  otros
  músicos
  y
  en
  particular,
  saxofonistas.
 
Por
 eso
 el
 “deje”
 que
 me
 salía
 al
 tocar
 con
 el
 clarinete,
 era
 más
 saxofonístico.
 
 
-­‐¿Cómo
 ves
 el
 papel
 del
 clarinete
 en
 el
 panorama
 de
 la
 música
 moderna?
 
El
  clarinete
  fue
  el
  instrumento
  amable
  en
  el
  periodo
  de
  entreguerras.
  Tras
  la
 
Segunda
 Guerra
 Mundial,
 el
 clarinete
 se
 convierte
 en
 el
 instrumento
 que
 expresa
 la
 
dureza
 del
 momento.
 En
 cambio,
 con
 el
 Be-­‐bop,
 pierde
 ese
 protagonismo
 del
 que
 
gozaba
 debido
 a
 la
 gran
 cantidad
 de
 buenos
 saxofonistas
 del
 momento,…
 
La
  Big
  Band
  contemporánea
  da
  mucho
  más
  protagonismo
  al
  clarinete,
  empieza
  a
 
considerarlo
 instrumento
 necesario.
 Por
 eso,
 aunque
 ahora
 la
 cosa
 esté
 mal,
 creo
 
que
 hay
 mucha
 gente
 con
 un
 gran
 talento.
 Creo
 que
 tenemos
 un
 futuro
 muy
 bonito.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
50
 

 
“Why
 not
 Clarinet”
 

ENGLISH
 VERSION:
 
-­‐For
  me,
  for
  those
  who
  know
  you,
  you
  are,
  first,
  a
  great
  jazz
  and
  classical
 
clarinetist,
  but
  also
  you
  are
  a
  teacher,
  friend,
  and
  enthusiastic
  about
 
everything
 you
 do.
 In
 summary,
 a
 big
 musician
 ...
 but
 how
 would
 you
 define
 
you
 as
 a
 musician?
 
-­‐It
 is
 a
 satisfaction
 that
 you
 see
 me
 as
 well.
 I
 am
 overwhelmed
 by
 the
 presentation.
 
I
  don´t
  know
  how
  to
  define
  myself
  in
  a
  few
  words.
  Music
  in
  general,
  modern
  or
 
classic,
  it
  has
  many
  possible
  approaches.
  I
  have
  associated
  both
  with
  the
 
interpretation
 as
 to
 the
 composition,
 improvisation
 and
 teaching.
 I´m
 feel
 fortunate
 
to
  share
  my
  experience
  with
  the
  rest
  of
  the
  people.
  I
  feel
  privileged
  to
  be
  a
 
musician,
  or
  dedicate
  myself
  to
  do
  music.
  I
  really
  don´t
  know
  what
  time
  it
  is
  one
 
musician.
  Some
  students
  who
  come
  to
  my
  classes
  think
  they
  are
  already
  there,
 
because
  they
  have
  already
  played...
  Some
  people
  without
  much
  talent,
  but
 
practicing
 a
 lot,
 they
 are
 and
 I
 also
 think
 that
 there
 are
 many
 people
 on
 the
 street
 
with
  a
  lot
  of
  talent
  in
  music.
  I
  define
  myself
  as
  a
  passionate
  musician,
  or
  as
 
passionate
  about
  music,
  but
  I
  keep
  feeling
  like
  an
  amateur
  who
  is
  lucky
  and
 
privileged
 to
 devote
 to
 it.
 
-­‐
 It
 is
 lucky
 to
 be
 a
 musician?
 
-­‐
 Yeah,
 well,
 luck
 or
 misfortune,
 because
 as
 the
 market
 is
 now
 ...
 But
 yes
 is
 so
 rich
 
to
 be
 a
 musician,
 I
 feel
 fortunate
 and
 music
 is
 very
 addictive
 to
 me.
 
-­‐
 How
 did
 you
 get
 started
 in
 the
 most
 modern
 music
 and
 jazz?
 Why
 did
 you
 
choose
 this
 way
 and
 style
 as
 a
 clarinet
 player?
 
-­‐
 There
 are
 inevitable
 internal
 calls.
 Suddenly
 I
 discovered
 me
 enjoying
 something,
 
you
 discover
 something
 that
 intrigues
 you
 and
 leaves
 you
 fascinated
 when
 hear
 it.
 I
 
think
  you
  know
  what
  I
  mean,
  because
  you
  have
  something
  similar
  happened
  to
 
you.
 Once,
 fell
 into
 my
 hands
 music
 of
 the
 30s,
 the
 swing.
 I
 played
 the
 clarinet
 at
 
that
  moment,
  and
  I
  was
  participating
  in
  something.
  When
  that
  gets
  us
  little
  seed
 
begins
 to
 germinate
 very
 quickly
 and
 many
 things
 happen.
 The
 wonder
 is
 that
 after
 
many
  years,
  something
  is
  going
  on
  that
  once
  I
  dreamed.
  I
  knew
  I
  wanted
  to
  do
  this
 
kind
  of
  music,
  I
  imagined
  playing
  myself
  in
  a
  big
  band,
  in
  any
  formation
  that
  has
 
lots
  of
  energy,
  very
  strongly,
  with
  the
  clarinet
  expressing
  all
  the
  colors
  that
  can
 
have
 this
 instrument.
 
 
-­‐But,
 with
 classical
 training,
 this
 is
 hard…
 
-­‐
 Sure.
 My
 teacher
 recommended
 me
 to
 continue
 my
 training
 in
 classical
 music,
 for
 
all
 the
 benefits
 it
 could
 bring
 me.
 And
 I
 did
 this,
 playing
 a
 classical
 repertoire
 that
 I
 
also
 enjoyed.
 
 
I
  graduated
  in
  Classical
  music,
  but
  at
  the
  end,
  I
  wanted
  to
  make
  contact
  with
  the
 
world
 of
 jazz.
 I
 was
 surprised
 to
  find
 that
 there
 wasn´t
 an
 infrastructure
 created
 in
 
the
 public
 education
 system
 in
 Spain.
 I
 did
 my
 own
 road,
 although
 it
 I
 was
 always
 
studying
 before
 and
 had
 had
 contacts
 and
 experiences
 with
 various
 jazz
 groups.
 
-­‐You
  are
  teacher
  in
  the
  “Escuela
  Creativa
  de
  Madrid”
  (jazz
  education)
  and
 
also
  in
  a
  Classical
  Conservatory.
  How
  do
  you
  see
  the
  future
  of
  jazz
  in
  Spain
 
from
 the
 point
 of
 view
 of
 the
 Education?
 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
51
 

 
“Why
 not
 Clarinet”
 
-­‐There
 is
 a
 very
 wide
 field
 in
 jazz
 in
 Spain,
 because
 everything
 is
 not
 built
 yet,
 and
 I
 
think
 we
 have
 awesome
 opportunities
 for
 development.
 I
 am
 a
 positive
 person,
 but
 
I
  can
  not
  ignore
  that
  the
  music
  market
  is
  in
  crisis.
  But
  I
  understand
  that
 
educational
 level,
 everything
 is
 not
 done
 and
 all
 is
 in
 our
 hands,
 in
 our
 imagination
 
and
 our
 energy.
 It's
 a
 shame
 that
 Spain
 is
 not
 up
 to
 other
 countries
 in
 the
 West
 in
 
these
 educational
 projects,
 but
 on
 the
 other
 hand,
 I
 am
 aware
 that
 it
 is
 something
 
that
 our
 generation
 must
 develop.
 
-­‐
  You
  have
  participated
  in
  many
  projects
  to
  promote
  jazz.
  It
  is
  increasingly
 
common
  private
  sponsorship
  of
  jazz
  festivals.
  Do
  you
  think
  the
  spanish
  state
 
should
 be
 involved
 and
 work
 more
 in
 this?
 
-­‐
 It's
 complicated.
 We
 are
 in
 a
 delicate
 moment.
 The
 model
 we
 had
 so
 far,
 is
 being
 
finished.
  Constantly
  hear
  no
  money.
  In
  this
  country
  we
  have
  enjoyed
  a
  few
 
governments
 that
 have
 made
 Health
 and
 Education
 
 a
 point
 of
 social
 priority.
 And
 
also
 Culture.
 I'll
 give
 you
 an
 example,
 look
 at
 Cuba,
 a
 poor
 society
 but
 with
 a
 huge
 
cultural
 wealth.
 In
 our
 country
 we
 haven´t
 
 made
 good
 use
 of
 the
 resources
 that
 the
 
state
 has
 given
 us,
 and
 we
 are
 paying
 for
 the
 sins.
 No
 structures
 were
 built
 strong
 
and
 have
 failed
 to
 find
 alternatives
 to
 resource
 level.
 Watch
 football,
 basketball,
 car
 
racing,…
 all
 have
 private
 sponsors
 and
 nobody
 is
 surprised.
 The
 same
 with
 music
 
that
 will
 happen
 too.
 
-­‐It's
 something
 that
 has
 been
 done
 before
 in
 aother
 places...
 
-­‐
  Yes,
  in
  other
  cultures,
  it
  is
  very
  strange
  that
  is
  the
  state
  who
  start
  one
  of
  these
 
educational
  projects.
  I
  think
  this
  will,
  in
  the
  end,
  the
  way
  we
  all
  have
  to
  do.
  We
 
must
  create
  markets
  and
  hobby-­‐people.
  Spain
  has
  a
  problem
  of
  musical
  culture.
 
There
  are
  more
  and
  more
  musicians.
  A
  lovely
  project,
  which
  are
  the
  Municipal
 
School
 of
 Music
 is
 dying,
 and
 that
 is
 very
 sad.
 
-­‐We
 return
 to
 you.
 You've
 played
 with
 many
 groups,
 in
 both
 styles,
 classical
 
and
 jazz,
 you've
 met
 great
 musicians,
 Who
 has
 influenced
 you
 the
 most?
 
-­‐
 Every
 person,
 and
 every
 kind
 of
 music
 ,
 bring
 something
 unique
 and
 particular.
 I
 
like
  jazz
  because
  doesn´t
  intended
  to
  create
  clones
  ,
  looking
  for
  what
  each
  one
  can
 
contribute,
  their
  individual
  sounds.
  I
  have
  had
  many
  influences,
  from
  my
  first
 
teachers
 ,
 Francisco
 Gutierrez,
 who
 was
 able
 to
 inspire
 and
 get
 me
 that
 love
 to
 the
 
clarinet
  ,
  then
  Teodoro
  Vinagre,
  professor
  of
  percussion
  and
  rhythm
  that
  did
 
extraordinary
 things
 in
 their
 classes
 or
 Dan
 Goulding
 ,
 exceptional
 pedagogue
 from
 
USA
  ,…
  Tom
  Horsby
  ,
  director
  of
  the
  Creative
  School….
  I
  forget
  a
  lot
  of
  people
  ….
 
I've
  played
  with
  exceptional
  musicians,
  who
  make
  you
  feel
  like
  you're
  inside
  the
 
CD
 or
 performance.
 Maybe
 Buddy
 de
 Franco,
 one
 of
 the
 most
 important
 clarinetists
 
,
  has
  been
  the
  most
  influential
  to
  me
  ,
  even
  more
  than
  Goodman
  because
  of
  the
 
type
 of
 his
 style
 and
 the
 music
 he
 did
 in
 his
 time
 with
 the
 clarinet
 and
 perhaps
 also
 
more
  than
  Eddie
  Daniels,
  one
  of
  the
  most
  famous
  today.
  And
  then
  there
  are
  the
 
others,
 who
 never
 met,
 who
 heard
 many
 times
 .
 Those
 who
 teach,
 you
 listen,
 with
 
which
 you
 play,…
 all
 bring
 you
 a
 lot.
 
-­‐
  Are
  there
  really
  much
  difference
  in
  music
  styles?
  In
  other
  words,
  what
  part
 
of
 jazz
 is
 closer
 to
 the
 classical
 music,
 and
 vice
 versa?
 
-­‐Prejudices
  are
  very
  expanded
  at
  all
  levels
  in
  our
  lifes.
  The
  culture
  gives
  us
  the
 
possibility
 to
 eliminate
 
 these
 prejudices,
 also
 traveling
 and
 seeing.
 Music
 is
 a
 big
 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
52
 

 
“Why
 not
 Clarinet”
 
thing,
 and
 that
 fits
 all.
 We
 insist
 on
 put
 too
 many
 stamps,
 "this
 is
 good,
 this
 is
 not,
 
this
 is
 better"
 ...
 Particularly,
 I
 am
 ignorant,
 I'm
 sure
 you
 maybe
 know
 more
 things
 
than
  I
  can
  never
  get
  to
  know.
  Music,
  according
  you're
  working,
  you
  becomes
  more
 
conscious
  of
  your
  progress,
  but
  also
  your
  limitations.
  It
  is
  a
  great
  art,
  in
  which
  jazz
 
is
  a
  style
  among
  so
  many,
  it's
  a
  very
  specific
  language
  that
  has
  had
  a
  huge
 
development,
  having
  been
  able
  to
  mix
  two
  cultures,
  African
  and
  European,
  in
 
another
 continent,
 that
 was
 a
 tremendous
 explosion.
 
-­‐The
 mixtures,
 in
 the
 end
 give
 a
 good
 result
 ...
 
-­‐
 Sure,
 those
 musics,
 that
 mixing,
 which
 is
 what
 makes
 the
 big
 things,
 has
 resulted
 
in
  the
  jazz
  is
  more
  than
  music.
  Here
  tradition
  has
  harmed
  us,
  pointing
  to
 
everything
 that
 is
 not
 formal,
 is
 not
 organized,
 it's
 not
 art.
 Every
 time
 we
 are
 the
 
people
 who
 is
 fascinated
 not
 only
 with
 a
 person
 trained
 in
 Cambridge
 School,
 but
 
also
  with
  a
  guy
  playing
  the
  sitar
  on
  any
  street
  and
  has
  no
  academic
  training.
  We
 
are
 able
 to
 admire
 the
 art
 itself,
 in
 the
 state
 where
 is.
 The
 academicism
 has
 done
 
much
  damage
  to
  this
  country
  (Spain).
  On
  the
  other
  hand,
  I
  was
  surprise
  also
  when
 
I
  started
  in
  modern
  music,
  I
  checked
  how
  well
  had
  prejudices
  toward
  classicism
 
and
 classical
 music,
 which
 some
 consider
 old,
 and
 the
 classical
 performers
 unables
 
to
  improvise
  or
  play
  without
  score.
  Are
  topics
  that
  our
  generations
  will
  have
  to
 
start
 destroying
 ...
 
-­‐You
  always
  combined
  jazz
  and
  classical
  style.
  From
  the
  technical
  point
  of
 
view,
 what
 makes
 you
 change
 your
 style?
 Does
 the
 material,
 how
 to
 play
 it?
 
-­‐Well,
 you
 always
 have
 the
 feeling
 that
 at
 best
 speak
 a
 language,
 you
 lose
 the
 other.
 
It
 should
 not
 be
 impossible
 to
 combine,
 in
 fact,
 is
 something
 I
 constantly
 do,
 but
 it
 
is
  true
  that
  each
  style
  has
  a
  very
  marked
  language
  to
  different
  sites.
  Sometimes
 
when
  I'm
  working
  a
  long
  time
  in
  jazz,
  I
  feel
  that
  I
  lose
  things
  to
  return
  to
  the
 
classic,
 and
 vice
 versa.
 The
 musician
 has
 to
 be
 flexible,
 have
 the
 ability
 to
 go
 from
 
one
 style
 to
 another.
 We
 must
 speak
 both
 languages
 permanently.
 
-­‐In
 other
 words,
 is
 not
 a
 big
 change
 in
 the
 material,
 but
 you
 must
 search
 and
 
be
 clear
 about
 what
 you
 want.
 
-­‐
  The
  material
  conditions
  us,
  but
  we
  must
  seek
  to
  enable
  us
  to
  work
  in
  a
  wider
 
range.
 I
 have
 the
 luck
 to
 have
 found
 this
 material
 may
 be
 done
 in
 a
 good
 manner
 in
 
both
 areas
 …
 
-­‐You
  play
  saxophone
  also;
  Which
  of
  the
  two
  instruments
  do
  you
  feel
  more
 
comfortable,
 especially
 in
 jazz?
 ...
 
-­‐The
 clarinet
 is
 my
 “native
 language”.
 With
 the
 sax,
 I
 have
 to
 have
 the
 brain
 divided
 
into
  two
  different
  parts,
  one
  part
  listening
  and
  other
  “tranpose”.
  I
  started
  to
  feel
 
good
  with
  the
  saxophone
  after
  five
  years
  playing
  almost
  permanently.
  But
  if
  I
  have
 
to
 tell
 the
 truth,
 I
 feel
 clarinet
 doubling
 saxophone.
 The
 instrument
 flows
 to
 me
 is
 
the
  clarinet,
  especially
  bass
  clarinet,
  which
  is
  where
  I
  am
  working
  more
  and
  offers
 
me
  more
  possibilities,
  not
  least
  because
  it
  is
  not
  as
  stereotyped
  as
  the
  soprano
 
clarinet
 …
 
 
-­‐You're
  talking
  about
  doubling
  clarinet
  and
  saxophone.
  The
  type
  of
 
instrument
  can
  determine
  the
  formo
  r
  way
  of
  interpretation
  and
 
improvisation?
 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
53
 

 
“Why
 not
 Clarinet”
 
-­‐
 There
 are
 many
 things,
 the
 instrument,
 but
 also
 the
 music
 you've
 heard,
 you've
 
played,
  the
  teachers,
  the
  CD,s
  you've
  transcribed
  ...
  My
  beginnings
  were
  mainly
 
with
  jazz
  saxophone
  players.
  I
  listened
  much
  to
  the
  classics
  like
  Dexter
  Gordon,
 
Mark
  Hopkins,
  ...
  those
  before
  Charlie
  Parker,
  because
  I
  think
  it
  is
  important
  to
 
start
 the
 house
 at
 the
 begining
 .
 The
 great
 jazz
 figures
 at
 that
 time
 ,a
 lot
 of
 them,
 
interpreted
  with
  saxophone.
  Of
  course
  there
  was
  also
 
  clarinetists
  and
  I
  heard,
  but
 
because
  some
  circumstances
  I
  transcribed
  much
  other
  musicians
  and
  in
  particular
 
saxophonists.
  So,
  because
  of
  this,
  muy
  “accent”,
  the
  way
  I
  played
  was
  more
 
influenced
 by
 the
 sax.
 
-­‐
 How
 do
 you
 see
 the
 role
 of
 the
 clarinet
 in
 the
 actual
 panorama
 of
 modern
 
music?
 
The
 clarinet
 was
 the
 friendly
 instrument
 in
 the
 interwar
 period.
 After
 World
 War
 
II,
 clarinet
 begins
 to
 lose
 its
 role.
 Saxophon
 becomes
 the
 instrument
 expressing
 the
 
hardness
  of
  the
  moment.
  Instead,
  the
  Be-­‐bop,
  the
  clarinet
  loses
  the
  importance
 
which
  he
  enjoyed
  also
  because
  the
  large
  number
  of
  good
  saxophonists
  at
  that
  time
 
...
 
The
 contemporary
 Big
 Band
 gives
 much
 more
 protagonism
 to
 the
 clarinet,
 the
 
instrument
 begins
 to
 consider
 it
 necessary.
 So
 even
 though
 things
 are
 bad
 now,
 I
 
think
 there
 are
 many
 people
 with
 great
 talent.
 I
 think
 we
 have
 a
 nice
 future.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
54
 

 
“Why
 not
 Clarinet”
 

ENTREVISTA
 

 

ANDREAS
 PRITTWITZ:
 
 

 
“IMPROVISAR
 ES
 COMPONER
 EN
 TIEMPO
 REAL”
 

 
Por
 Miguel
 Ruiz
 Santos
 
Maquetación:
 M.
 Ángeles
 Santos
 

 

 

 

Andreas
  Prittwitz
  (Múnich
  1960)
  es
  un
  músico
  alemán
 
afincado
  en
  España,
  intérprete
  de
  flauta
  de
 pico,
  clarinete
 
y
  saxofón.
  Su
  aportación
  fundamental,
  heredada
  de
  su
 
ecléctica
  formación
  en
 música
 antigua
  y
 jazz,
 consiste
 en
 
una
 particular
  visión
 de
 la
  improvisación
 musical.
  Ésta
  se
 
materializa
  en
  su
  últimos
  trabajos,
  agrupados
  bajo
  el
 
título
 de
 Looking
 Back,
 en
 los
 que
 reclama
 el
 campo
 de
 la
 
música
  clásica
  como
  un
  espacio
  que
  también
  es
  apto
  para
 
la
  improvisación.
  En
  este
  proyecto
  aporta
  su
  visión
 
personal
  sobre
  la
  música
  renacentista
  y
  barroca
 
interpretada,
 dentro
 de
 la
 fidelidad
 a
 la
 ejecución
 correcta
 
de
 la
 época,
 con
 la
 convivencia
 de
 instrumentos
 antiguos
 
y
  elementos
  modernos,
  pero
  no
  por
  ello,
  transgresores,
 
como
  la
  improvisación
  y
  la
  utilización
  del
  clarinete
  y
 
saxofón.
 
 

 


 

 

 

 

 


 

 

 

 

 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
55
 

 
“Why
 not
 Clarinet”
 
-­‐¿Cómo
 se
 definiría
 como
 músico?
 
Me
  defino,
  de
  entrada,
  como
  autodidacta.
  A
  pesar
  de
  mis
  intentos
  para
  ser
  un
 
músico
 serio,
 soy
 principalmente
 autodidacta.
 Eso,
 hoy
 en
 día,
 ya
 describe
 bastante
 
a
 un
 músico.
 Vivimos
 en
 una
 época
 en
 la
 que
 parece
 que
 si
 no
 haces
 mil
 cursillos,
 
no
 tienes
 profesor
 de
 tenis,
 profesor
 de
 andar
 por
 la
 calle,…
 no
 eres
 nadie.
 Y
  por
 
supuesto,
  para
  llegar
  donde
  quieres,
  tienes
  que
  estudiar
  exactamente
  igual
  que
  los
 
demás,
 pero
 sin
 profesores.
 
…Y
 eso
 supone
 un
 trabajo
 extra.
 
Más
 que
 trabajo
 extra,
 te
 da
 una
 formación
 diferente
 y
 yo,
 desde
 luego,
 la
 disfruto
 
mucho.
 He
 tenido
 la
 suerte
 de
 educarme
 así,
 por
 mí
 mismo,
 como
 músico
 que
 no
 se
 
quiere
  aburrir
  nunca,
  y
  por
  lo
  tanto,
  toca
  todo
  lo
  que
  puede,
  tanto
  instrumentos
 
como
 estilos,
 y
 hace
 lo
 que
 puede.
 No
 se
 puede
 hacer
 todo
 fenomenal,
 pero
 me
 lo
 
paso
 muy
 bien.
 
El
  crítico
  Walter
  Stevens
  le
  define
  como
  un
  músico
  “todoterreno”
  por
  la
 
mezcolanza
  de
  estilos
  que
  siempre
  hace
  en
  sus
  trabajos,
  ¿Por
  qué
  esta
 
mezcolanza?
 
Por
  las
  circunstancias
  de
  mi
  vida,
  empecé
  con
  la
  música
  antigua
  y
  con
  la
  flauta.
 
Cuando
  ya
  tenía
  cierto
  nivel
  y
  cierto
  éxito,
  entre
  comillas,
  vine
  a
  España,
  y
  la
 
música
  antigua
  no
  estaba
  aquí
  muy
  desarrollada
  todavía.
  Entonces
  empecé
  a
 
improvisar
  con
  el
  saxo
  y
  el
  clarinete,
  empecé
  a
  tocar
  con
  gente
  de
  ese
  mundo
 
moderno,
  y
  me
  formé
  en
  la
  improvisación.
  Cuando
  ya
  llevaba
  un
  tiempo
 
improvisando
  me
  dije
  “qué
  bonita
  es
  la
  música
  antigua”.
  Y
  regresé.
  Ahora
  estoy
  en
 
las
 dos
 cosas.
 
En
  todo
  lo
  que
  ha
  hecho,
  la
  improvisación
  ha
  tenido
  un
  papel
  protagonista
 
¿La
 improvisación
 es
 lo
 más
 importante?
 
Es
  fundamental,
  tan
  fundamental
  como
  que
  para
  mí
  todo
  es
  improvisación.
  Casi
 
toda
  la
  música,
 
  incluso
  la
  escrita,
  es
  improvisada.
  Quiero
  decir,
  por
  ejemplo,
  un
 
compositor
  como
  Bach,
  o
  cualquier
  otro,
  no
  podía
  haber
  hecho
  la
  cantidad
  de
 
obras
 que
 hicieron
 sin
 una
 idea
 improvisada
 en
 su
 cabeza.
 Improvisar
 es
 componer
 
en
  tiempo
  real.
  Se
  me
  ocurre,
  esto
  “……”.
  Ya
  está.
  Lo
  mismo
  que
  hace
  un
  jazzista
 
cuando
  toca
  un
  solo.
  Está
  componiendo,
  lo
  único
  es
  que
  no
  le
  da
  tiempo
  a
 
escribirlo,
  pero
  en
  realidad
  está
  componiendo.
  Partiendo
  de
  ahí,
  para
  mí
  toda
  la
 
música
  es
  improvisada,
  y
  hay
  que
  darle
  la
  consiguiente
  importancia.
  No
  está
 
escrito
  exactamente
  como
  aparece
  en
  la
  partitura,
  pero
  hay
  otras
  muchas
  cosas
 
dentro,
 emociones,
 el
 momento
 en
 que
 se
 hace…
 A
 la
 hora
 de
 interpretar
 hay
 que
 
pensar,
 hay
 que
 añadir
 mucho
 para
 disfrutar
 de
 la
 interpretación.
 
 
Respecto
  a
  este
  tema,
  su
  proyecto
  más
  importante
  es
  Looking
  Back
  ¿Qué
 
busca
 con
 esta
 idea?
 ¿A
 dónde
 pretende
 trasladar
 al
 oyente?
 
Ya
  se
  han
  hecho
  fusiones
  de
  todo
  tipo.
  Creo
  que
  no
  queda
  nada
  por
  fusionar.
  Lo
 
que
  yo
  quería
  con
  Looking
  Back
  es
  que
  la
  obra
  original
  se
  siga
  manteniendo
  con
  la
 
misma
 importancia.
 No
 es
 cuestión
 de
 coger
 una
 pieza
 y
 decir
 cambio
 este
 acorde
 y
 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
56
 

 
“Why
 not
 Clarinet”
 
éste,
  y
  le
  pongo
  la
  batería
  y
  ya
  es
  jazz.
  No
  quería
  eso.
  Pretendo
  que
  la
  obra
  que
 
suene
  siga
  siendo
  la
  original,
  con
  sus
  instrumentos
  originales
  y
  la
  interpretación
 
original.
 
Hablando
  de
  estilos,
  el
  walking,
  el
  bajo
  continuo…¿Realmente
  hay
  tanta
 
diferencia
 de
 estilos
 en
 la
 música,
 o
 son
 más
 las
 fronteras
 que
 se
 ponen?
 ¿Hay
 
más
 similitudes
 que
 diferencias?
 
Es
 una
 pregunta
 jodida.
 Depende
 de
 cómo
 lo
 mires.
 En
 realidad,
 está
 todo
 hecho
 en
 
el
  jazz
  hace
  mucho
  tiempo.
  La
  tonalidad
  es
  un
  sistema
  de
  doce
  notas
  que
  tiene
  sus
 
limitaciones.
  Luego
  se
  ha
  avanzado
  mucho
  en
  cómo
  utilizarlas,
  pero
  en
  lo
  básico,
 
en
 lo
 profundo,
 está
 hecho.
 Por
 ejemplo,
 un
 bajo
 continuo,
 en
 cómo
 se
 armonizan
 o
 
en
 cómo
 caminan
 esos
 bajos
 barrocos
 y
 cómo
 lo
 hace
 un
 “walking”,pues
 se
 parecen
 
una
  barbaridad.
  (Los
  bajos
  barrocos)
  En
  unos
  casos
  estaban
  escritos,
  y
  en
  otros,
 
improvisaban
  directamente.
  Luego
  pones
  encima,
  en
  lugar
  de
  la
  Novena
  o
  los
 
acordes
 que
 pone
 Bach,
 que
 ya
 eran
 muy
 modernos,
 otra
 tensión
 o
 disposición
 y
 le
 
pones
  un
  saxo,
  o
  una
  batería,
  o
  un
  bajo
  eléctrico,
  y
  ya
  está.
  El
  concepto
  de
  base
 
moderna
  (sección
  rítmica)
  con
  el
  bajo
  y
  la
  batería
  ha
  cambiado
  mucho,
  y
  ha
  hecho
 
que
 todo
 suene
 muy
 diferente.
 
Hablando
  de
  instrumentos,
  flauta
  de
  pico,
  saxo,
  clarinete,
  ¿Cree
  que
  el
 
instrumento
  marca
  la
  interpretación,
  la
  improvisación?
  ¿O
  influye
  más
  el
 
instrumentista?
 
En
  la
  flauta
  de
  pico,
  la
  improvisación
  es
  muy
  limitada.
  Hay
  otros
  instrumentos
  que
 
también
 tienen
 sus
 problemas.
 Para
 un
 clarinete
 o
 un
 saxo
 no
 hay
 límites,
 y
 pueden
 
hacer
  lo
  que
  quieran.
  Lo
  que
  sí
  marca
  claramente
  es
  el
  sonido.
  Es
  fundamental
  y
 
marca
  incluso
  entre
  instrumentos
  de
  la
  misma
  familia.
  Si
  tocas
  clarinete
  bajo,
  lo
 
haces
 muy
 diferente
 a
 la
 hora
 de
 solear
 que
 si
 lo
 haces
 con
 otro.
 
Llegamos
 al
 clarinete
 ¿Cómo
 lo
 ve
 en
 el
 panorama
 actual,
 tanto
 de
 la
 música
 
moderna
  (pop,cantautor,…)
  como
  del
  jazz?
  ¿Qué
  papel
  tiene
  y
  qué
 
protagonismo
 debería
 tener?
 
Bueno,
  el
  papel
  que
  tiene
  es
  muy
  pequeño.
  Inexplicablemente,
  nadie
  toca
  el
 
clarinete,
  hablando
  de
  música
  moderna.
  Incluso
  de
  música
  contemporánea
 
interesante,
  tampoco
  hay
  tantas
  cosas.
  No
  sé
  muy
  bien
  por
  qué
  ha
  pasado
  esto,
 
porque
 a
 mí
 me
 parece
 un
 instrumento
 de
 unos
 recursos
 tremendos.
 Todos
 saben
 
el
 rango
 que
 tiene
 un
 clarinete,
 puedes
 tocar
 como
 un
 saxo
 tenor,
 con
 los
 agudos
 
de
  una
  flauta
  o
  como
  una
  trompeta.
  Miles
  de
  recursos
  y
  de
  registros,
  pero
  ha
  caído
 
en
  desgracia.
  Creo
  que
  es
  sobre
  todo
  por
  la
  dificultad
  técnica.
  Los
  jazzistas
  son
 
gente
 muy
 vaga
 en
 general,
 les
 gusta
 mucho
 la
 noche
 y
 el
 éxito
 rápido,
 y
 dejan
 el
 
clarinete
 de
 lado.
 No
 es
 más
 que
 eso.
 Realmente,
 el
 clarinete
 tiene
 mucha
 pasta
 y
 es
 
uno
 de
 mis
 instrumentos
 favoritos.
 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
57
 

 
“Why
 not
 Clarinet”
 
Es
  mi
  siguiente
  pregunta,
  ¿Por
  qué
  usted,
  como
  instrumentista,
  coge
  el
 
clarinete?
 
Como
 ya
 he
 dicho,
 empecé
 con
 la
 flauta.
 Después
 llegó
 el
 clarinete
 que
 para
 mí,
 a
 la
 
hora
  de
  improvisar,
  fue
  fundamental.
  Luego
  me
  pasé
  al
  saxo
  por
  razones
 
comerciales,
  pero
  nunca
  lo
  dejé
  de
  lado,
  aunque
  no
  toque
  todo
  lo
  bien
  que
 
técnicamente
 me
 gustaría.
 
Ahí
 discrepo…
 
No,
  no,
  tengo
  mucha
  más
  técnica
  en
  la
  flauta
  o
  en
  el
  saxo,
  pero
  me
  siento
  muy
  a
 
gusto
  con
  el
  clarinete,
  me
  parece
  un
  instrumento
  que
  necesita
  un
  lavado
  de
 
imagen,
  y
  yo
  quiero
  ayudar
  en
  eso.
  La
  forma
  clásica
  de
  tocar
  el
  clarinete
  es
  muy
 
bella,
 mucho
 mejor
 que
 la
 de
 tocar
 el
 saxo
 clásico,
 que
 es
 un
 espanto.
 Creo
 que
 se
 
podrían
  aprovechar
  las
  técnicas
  del
  jazz
  para
  el
  clarinete
  solista.
  Un
  sonido
  con
  un
 
poco
  más
  de
  aire,
  algo
  de
  vibrato
  y
  estas
  cosas,
  se
  podrían
  utilizar
  para
  la
 
interpretación
 más.
 El
 clarinete
 de
 orquesta
 es
 otra
 cosa.
 Un
 concierto
 de
 Mozart
 
tocado
  por
  Benny
  Goodman
  tiene
  mucha
  gracia.
  Por
  ahí
  creo
  que
  queda
  espacio
 
para
 investigar
 y
 hacer
 cosas
 importantes.
 
En
 ello
 estamos.
 

 

 

 

 

 

 

 


 

 

 

 

 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
58
 

 
“Why
 not
 Clarinet”
 

ENGLISH
 VERSION:
 

 
How
 do
 you
 define
 yourself
 as
 a
 musician?
 
I
 define
 myself,
 first,
 as
 an
 autodidact.
 Despite
 my
 efforts
 to
 be
 a
 serious
 musician,
 I
 
am
 primarily
 autodidact.
 This,
 today,
 is
 a
 fact
 which
 describes
 quite
 a
 musician.
 We
 
live
  in
  a
  time
  when
  it
  seems
  that
  if
  you
  didn,t
  do
  a
  thousand
  workshops,
  you
  don´t
 
have
 tennis
 teacher,
 teacher
 for
 walking
 down
 the
 street
 ...
 you're
 nobody.
 And
 of
 
course,
 to
 get
 where
 you
 want,
 you
 have
 to
 study
 hard
 exactly
 like
 others,
 but
 not
 
teachers.
 
And
 ...
 this
 implies
 extra
 work.
 
Rather
 than
 extra
 work,
 it
 gives
 you
 a
 different
 training
 and,
 of
 course,
 I
 enjoyed
 it.
 
I've
  been
  lucky
  so
  educate
  me,
  by
  myself,
  as
  a
  musician
  who
  does
  not
  want
  to
  ever
 
get
  bored,
  and
  therefore
  plays
  all
  that
  he
  can,
  both
  instruments
  and
  styles,
  and
  I
 
did
 what
 I
 can.
 Maybe
 you
 can
 not
 do
 everything
 great,
 but
 I
 enjoy
 it
 a
 lot.
 
The
  critic
  Walter
  Stevens
  defines
  him
  as
  a
  musician
  by
  multiple
  jumble
  of
 
styles
 that
 always
 makes
 it
 in
 his
 jobs,
 why
 this
 fusion,
 jumble?
 
The
  circumstances
  of
  my
  life,
  I
  started
  with
  the
  old
  music,
  the
  Baroque
  and
  the
 
flute.
 When
 I
 had
 a
 certain
 level
 and
 some
 success,
 I
 came
 to
 Spain,
 and
 the
 early
 
music
  here
  was
  not
  very
  developed
  yet.
  Then
  I
  started
  to
  improvise
  with
  the
 
saxophone
  and
  clarinet,
  and
  I
  started
  playing
  with
  people
  of
  the
  modern
  music
 
world,
  and
  I
  trained
  in
  improvisation.
  When
  I
  was
  playing
  this
  kind
  of
  music,
  I
 
suddenly
 thought,
 I
 miss
 the
 old
 music,
 which
 is
 and
 I'm
 back
 to
 this
 style.
 Now
 I'm
 
playing
 both.
 
-­‐In
 all
 the
 works
 you
 have
 done,
 improvisation
 has
 had
 a
 central
 role?
 Is
 the
 
improvisation
 the
 most
 important
 thing?
 
It
  is
  fundamental.
  To
  me
  improvisation
  is
  all.
  Almost
  all
  the
  music,
  whether
 
written,
  is
  improvised.
  I
  mean,
  for
  example,
  a
  composer
  like
  Bach,
  or
  any
  other,
 
could
  not
  have
  done
  the
  amount
  of
  work
  they
  did
  without
  an
  impromptu
  idea
  in
 
his
 head.
 Improvising
 is
 composing
 in
 real
 time.
 I
 can
 think,
 this
 "......".
 That's
 it.
 The
 
same
  thing
  that
  makes
  a
  jazz
  musician
  when
  he
  plays
  a
  solo.
  There
  are
  composing,
 
the
 only
 thing
 is
 that
 there
 is
 no
 time
 to
 write,
 but
 actually
 is
 composing.
 For
 me
 all
 
the
 music
 is
 improvised,
 and
 because
 of
 this,
 is
 necessary
 to
 give
 importance.
 It
 is
 
not
  written
  exactly
  as
  it
  appears
  in
  the
  score,
  but
  there
  are
  many
  things
  inside,
 
emotions,
 the
 moment
 when
 is
 …
 
-­‐Regarding
 this
 topic,
 your
 most
 important
 project
 is
 Looking
 Back.
 What
 do
 
you
 look
 with
 this
 idea?
 Where
 do
 you
 intend
 to
 move
 the
 listener?
 

 
Already
 there
 have
 been
 mixtures
 of
 all
 kinds
 of
 music.
 I
 think
 there
 is
 nothing
 else
 
to
  mix.
  What
  I
  wanted
  to
  do
  with
  “Looking
  Back”
  is
  keep
  the
  original
  work
 
maintained
  it
  with
  the
  same
  importance.
  It's
  not
  about
  taking
  a
  music
  piece
  and
 
say
 this
 line
 I
 will
 change
 and
 also
 this
 chord,
 and
 put
 the
 drums
 and
 it
 is
 jazz.
 I
 did
 
not
  want
  that.
  I
  pretend
  that
  the
  work
  remains
  the
  original
  sound,
  with
  original
 
instruments
 and
 original
 interpretation.
 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
59
 

 
“Why
 not
 Clarinet”
 
Speaking
 about
 musi
 styles
 the
 jazz-­‐walking,
 the
 Bassus
 continuous
 ...
 is
 there
 
really
  much
  difference
  in
  music
  styles,
  or
  are
  the
  boundaries
  that
  are
  set?
 
Are
 there
 more
 similarities
 than
 differences?
 
It's
 a
 hard
 question.
 It
 depends
 on
 how
 you
 look
 it.
 Actually,
 it's
 all
 done
 in
 the
 jazz
 
long
  time
  ago.
  The
  tonality
  is
  a
  system
  of
  twelve
  notes
  and
  it
  has
  its
  limitations.
 
Then
  we
  have
  done
  a
  long
  way
  in
  this
  system
  and
  how
  to
  use
  it,
  but
  mainly,
  all
  it's
 
done.
 For
 example,
 a
 Bassus
 Continuous
 is
 very
 similar
 than
 a
 Walking
 bass
 on
 how
 
to
  harmonize
  or
  how
  it
  walks
  and
  how
  these
  baroque
  bass
  makes
  it
  a
  "walking"
 
because
 they
 seem
 as
 a
 modern
 walking.
 A
 lot
 of
 them
 were
 written
 in
 some
 cases,
 
and
  in
  others,
  improvised
  directly.
  Then
  put
  on
  top,
  instead
  of
  the
  Ninth
  other
 
tensions
 or
 a
 chord
 note,
 but
 mainly,
 is
 the
 same.
 If
 you
 put
 a
 saxophone,
 drums,
 an
 
electric
 bass,…
 and
 that's
 it,
 you
 have
 jazz.
 
The
  concept
  of
  modern
  base
  (rhythm
  section)
  with
  the
  bass
  and
  drums
  has
 
changed
 a
 lot,
 and
 made
 it
 all
 sound
 very
 different.
 This
 is
 really
 the
 difference.
 
Talking
 about
 instruments,
 you
 play
 recorder,
 saxophone,
 clarinet,…
 Do
 you
 
think
 the
 instrument
 determines
 how
 to
 play,
 the
 improvisation?
 Or
 is
 more
 
influential
 the
 player?
 
-­‐In
 the
 recorder,
 improvisation
 is
 very
 limited.
 There
 are
 other
 instruments
 which
 
 
also
  have
  their
  problems.
  The
  clarinet
  or
  the
  saxophone
  there
  are
  no
  limits,
  and
 
they
  can
  do
  whatever
  you
  want.
  The
  thing
  what
  makes
  clear
  differences
  is
  the
 
sound.
  It
  is
  essential
  and,
  even
  among
  instruments
  of
  the
  same
  family,
  there
  are
 
differences.
 If
 you
 play
 bass
 clarinet,
 you
 play
 very
 different
 when
 soloing
 than
 if
 
you
 play
 with
 another
 type
 of
 clarinet.
 
-­‐About
  the
  clarinet.
  How
  do
  you
  see
  the
  current
  situation
  in
  both
  modern
 
music
 (pop,
 singer-­‐songwriter,
 ...)
 and
 the
 jazz?
 What
 role
 does
 and
 what
 role
 
should
 it
 have?
 
Well,
 the
 role
 of
 the
 clarinet
 in
 the
 current
 scene
 is
 very
 small.
 Inexplicably
 nobody
 
plays
  the
  clarinet,
  speaking
  of
  modern
  music.
  There
  are
  not
  interesting
 
contemporary
 music,
 not
 so
 many
 things.
 I'm
 not
 sure
 why
 the
 clarinet
 lost
 its
 role,
 
because
  it
  seems
  to
  me
  an
  instrument
  with
  a
  lot
  of
  resources.
  Everyone
  knows
  the
 
clarinet
  has
  a
  range
  that
  you
  can
  play
  like
  a
  tenor
  saxophone,
  or
  like
  a
  flute
  or
  a
 
trumpet.
 I
 think
 it's
 mainly
 because
 of
 the
 technical
 difficulty.
 The
 jazz
 players
 are
 
lazy
  people
  in
  general,
  they
  really
  like
  the
  night
  and
  the
  quick
  success,
  leaving
 
aside
 the
 clarinet.
 
This
  is
  my
  next
  question,
  Why
  Do
  You,
  as
  an
  instrumentalist,
  takes
  the
 
clarinet?
 
As
 I
 said,
 I
 started
 with
 the
 flute
 and
 recorder.
 Then
 came
 the
 clarinet
 for
 me,
 when
 
I
  started
  improvising,
  was
  fundamental.
  Then
  I
  moved
  to
  the
  sax
  for
  commercial
 
reasons,
 but
 I
 never
 forget
 clarinet,
 I
 like
 this
 instrument
 but
 I
 do
 not
 play
 as
 well
 
as
 I
 would
 like
 technically.
 

 Here
 I
 am
 disagree
 ...
 
No,
 no,
 I
 have
 much
 more
 technical
 on
 the
 flute
 or
 sax,
 but
 I
 feel
 very
 comfortable
 
with
 the
 clarinet,
 an
 instrument
 that
 I
 think
 needs
 put
 in
 relevance,
 and
 I
 want
 to
 
help
  in
  that.
  The
  classic
  manner
  of
  playing
  the
  clarinet
  is
  very
  strictly,
  much
  better
 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
60
 

 
“Why
 not
 Clarinet”
 
than
  the
  classical
  saxophone
  playing,
  which
  is
  a
  horror
  for
  me.
  I
  think
  you
  might
 
benefit
  from
  techniques
  for
  the
  jazz
  clarinet.
  A
  sound
  with
  a
  bit
  more
  air,
  some
 
vibrato
  and
  these
  things
  could
  be
  used
  for
  further
  interpretation
  on
  classic.
  For
 
example,
  the
  Mozart
  concerto
  played
  by
  Benny
  Goodman
  is
  very
  funny.
  I
  think
 
there
 is
 a
 way
 to
 investigate
 and
 do
 important
 things.
 
On
 that
 we
 are
 working…
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 
MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
61
 

 
“Why
 not
 Clarinet”
 


 

 

 

 

 
SCORES
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
62
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

MIGUEL
 RUIZ
 SANTOS
 


 
 
 
 
 
 

Master
 in
 Contemporary
 Music
 Performance
 
63
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

 

MIGUEL
 RUIZ
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Master
 in
 Contemporary
 Music
 Performance
 
64
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

 

MIGUEL
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Master
 in
 Contemporary
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 Performance
 
65
 

 
“Why
 not
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MIGUEL
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Master
 in
 Contemporary
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 Performance
 
66
 

 
“Why
 not
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MIGUEL
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Master
 in
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 Performance
 
67
 

 
“Why
 not
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MIGUEL
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Master
 in
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 Performance
 
68
 

 
“Why
 not
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MIGUEL
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Master
 in
 Contemporary
 Music
 Performance
 
69
 

 
“Why
 not
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MIGUEL
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Master
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70
 

 
“Why
 not
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MIGUEL
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Master
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 Performance
 
71
 

 
“Why
 not
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MIGUEL
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Master
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 Performance
 
72
 

 
“Why
 not
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MIGUEL
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Master
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73
 

 
“Why
 not
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MIGUEL
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Master
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74
 

 
“Why
 not
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MIGUEL
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Master
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“Why
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MIGUEL
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Master
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“Why
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MIGUEL
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Master
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“Why
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MIGUEL
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Master
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“Why
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MIGUEL
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Master
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79
 

 
“Why
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MIGUEL
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Master
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“Why
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Master
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“Why
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MIGUEL
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Master
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“Why
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MIGUEL
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Master
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“Why
 not
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Master
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“Why
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Master
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“Why
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Master
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“Why
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Master
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“Why
 not
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Master
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“Why
 not
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MIGUEL
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Master
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89
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

MIGUEL
 RUIZ
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Master
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90
 

 
“Why
 not
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MIGUEL
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Master
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91
 

 
“Why
 not
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MIGUEL
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Master
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92
 

 
“Why
 not
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MIGUEL
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Master
 in
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93
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

 

MIGUEL
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Master
 in
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94
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

MIGUEL
 RUIZ
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Master
 in
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 Performance
 
95
 

 
“Why
 not
 Clarinet”
 


 


 

 

 

MIGUEL
 RUIZ
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Master
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96
 

 
“Why
 not
 Clarinet”
 


 


 

MIGUEL
 RUIZ
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