Klarinet Archive - Posting 000909.txt from 1997/05

From: Keith P Koons <kkoons@-----.edu>
Subj: Use of different key clarinets
Date: Sat, 31 May 1997 16:03:46 -0400

Hello all,

To continue this discussion of the reasons composers chose to write for
different instruments, let us consider the French horn family. In the
days before valves, composers would write for different keyed horns
because of the notes in the different harmonic series. Notes not on the
series would sound _much_ different because of the hand horn technique.
The players would remove one crook, or lenghth of tubing, and insert
another. I am not a horn player but I imagine that there are some
differences in sound between different keyed horns.

Did composers choose different keyed horns because they sounded
differently or just because they furnished the desired notes? This is
relevant to the key signature restrictions that Mr. Leeson brought up for
Mozart's use of clarinets.

Another piece of evidence for horns is that composers sometimes wrote for
a section of two horns in one key and two in another key - can we assume
that the composer wanted them to sound like one section?

Any clarinet/horn doublers out there? I suppose the use of different
keyed trumpets would also be relevant. Most of the trumpet players I have
talked to seem to use the most expedient keyed trumpet for orchestral
parts, not necessarily the one specified on the part.

Happy trills,
Keith Koons

Keith Koons, Associate Professor of Music
University of Central Florida
P.O. Box 161354, Orlando, FL 32816-1354
Office (407) 823-5116 Fax (407) 823-3378
http://pegasus.cc.ucf.edu/~ucfmusic

International Clarinet Association:
Chair, Research Presentation Committee
Project Director, Clarinet Anthology
http://www.clarinet.org