Klarinet Archive - Posting 000269.txt from 1995/04

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Re Chris Zello's comments on Selmer b.c.
Date: Sun, 16 Apr 1995 11:31:25 -0400

Selmer has been experimenting with the placement of touchpieces that
are used for low E-flat, D, D-flat, and C. My instrument, which I got
when living in Paris in 1963, has the three lowest tones all controlled
by the right thumb. Any rapid technical requirements for low note work
are not accomplishable with this arrangement. So a few years after
1963, they began their experiments motivated by complaints (from me at
least) that asserted that their instruments were non-responsive to the
technical requirements of the repertoire. They continue to experiment
to this day both by adding keys, supplying duplicate fingerings, etc.

The same thing used to be true with both Selmer and Buffet basset horns.
It was if they had been designed by someone who had no knowledge of
the repertoire for the instrument. For example, intervals of C-Eb,
C-Ab, C-F, etc. were impossible when slurred. That is to say, one
could not play those intervals without lifting BOTH pinkys and placing
one in a completely different position. So a slur between those
intervals without an intervening (and unwanted) note was not possible.
I am not saying that it was "difficult." I am suggesting that it was
not possible to play those intervals slurred at any tempo.

So as a result of a number of complaints (including many, many from me),
Selmer (at least) began to modify the fingering system to alleviate
the problem somewhat. Buffet took a different approach in that they
eventually adopted the LeBlanc bore and also the LeBlanc fingering
system for the low notes. I think that they concluded that a narrow
bore basset horn has inherent limitations on its ability to play in tune.

I mention this basset horn issue not to get away from the question but
only to point out that the manufacturers do make changes from time to
time, and that those changes probably are influenced by enough complaints
to make their attention focus on the problems.

Next week I am playing the Romeo and Juliet ballet of Prokoffiev and it
is in works of this nature that the defectiveness of the "three keys
operated by one thumb" system is made abundantly clear. Several passages
in this work are made far more difficult than necessary (though they can
be played) by the design of my b.c.'s low note touchpieces.

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
====================================

   
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