Klarinet Archive - Posting 000250.txt from 1994/12

From: "William A. Helmers" <reedman@-----.EDU>
Subj: wooden bass clarinet bell
Date: Tue, 13 Dec 1994 00:22:12 -0500

In a previous posting, I questioned why it would be worth the considerable
trouble and expense to construct a wooden bell for a low-c bass clarinet. I
mentioned that it might be a more revealing experiment on a low E-flat
instrument.

The bass clarinet players on the list will know that that the bell has a
relatively small effect on the middle-of-the-staff B, C, C#, etc. However,
on a low E-flat instrument, the bell's effect on these pitches is
significant.

Also, the bell on the low E-flat bass has a lot to do with the tone and
response of the right hand pitches in the low register, especially
low E. In fact, many players prefer to perform on a low E-flat bass clarinet
because of the
special quality of the "bell tones." On a low c instrument, the bell will
have its greatest effect on the pitches below low E...pitches which only
rarely come into play. How often do orchestras perform the Khachaturian
Piano Concerto? I've only played it once in my 15+ year career. I need the
low C instrument only a few times each year, and even then, the low pitches
are often not exposed. This is not a register which has a particularly
soloistic quality even in the passages where it is used effectively.

Anyway, I'm anxious to hear the results of Dan Leeson's trial. I have
noticed large differences in the way bass clarinet bells and necks
respond. Silver plating has an effect, and unplated bells behave differently
as well. I've spoken to brass players about various processes in heating
(annealing) and plating. They use different procedures to produce various
response and tonal characteristics.

   
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