Klarinet Archive - Posting 000522.txt from 1996/09

From: "Fogle, Bill" <bill.fogle@-----.COM>
Subj: resistence of different horns
Date: Tue, 24 Sep 1996 13:12:20 -0400

A little while ago I had the experience of playing a Buffet R-13
and a Leblanc L7 alternatingly, using the same Chadash 66mm barrel
and mouthpiece.

The Leblanc was *extremely* free-blowing and I was able to initiate
a tone from the softest ppp. A great play but (backed up by listeners)
"shriller-sounding" than the R-13. <<I know this is Leeson bait>>. The
R-13 definately had a "different" tone and was not as free-blowing, nor
was it as easy to initiate a tone from a whisper. BTW, the Leblanc sounded
better with the Chadash barrel than with the horn's original barrel.

The question: Is the resistance/feel/tone thing *entirely* a function of
the bore design? Or is part of it tone hole placement, or what? Other than
the fact that I just felt the pecieved "tone" was not as full or dark, I
really
liked the response of the Leblanc. I enjoyed the playing. Should I
forget about "tone" and play an instrument that has a cozier response?
(Or just own different different, as I do, and play each as the mood strikes?)

The other question: What did Benny Goodman use for classical work?
The same Selmer (presumption dominating, here) as for the jazz playing?
Or did he use a "darker" horn? Did Robert Caree invent "darkness"
and full tone? ------Bill Fogle.

   
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