Klarinet Archive - Posting 000301.txt from 1997/11

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: reed strength/ acoustically balanced
Date: Fri, 7 Nov 1997 09:34:36 -0500

On Fri, 7 Nov 1997 PGAYR@-----.com wrote:

> Roger Garrett wrote:
> The term I used for what we wanted to create in Leblanc clarinets was
> "Balanced blowing resistance."

I like this term better.....*whew*.....!

> I do beg to differ with Roger on one point and comment on another:
> First, a comment of two on the equal evenness he says he perceives.
> I would say that in some cases it is easy for a Buffet player to miss the
> virtues of the Leblanc without playing the instrument for a sustained time.

This seems very reasonable to me.

> The Concerto is very similar to the R-13, but the differences are significant
> enough to make or break a first impression if the mouthpiece/reed set up is
> not right.

The same could be said for the R-13.

> The slight increase in left hand resistance has the effect of "holding" the
> shape or envelope of the tone so the player can be freer with his embouchure.
> For instance, if you relax your embouchure as much on most Buffets as you
> can on a Leblanc you will find that the tone of the Buffet will lose its'
> center and the pitch will sag.

I have not found this to be a problem in my playing or my students'
playing....but I understand what you are saying. It is not necessarily a
universal fact, but it may be something that occurs with some performers.

> Buffet players are used to using a certain amount of embouchure pressure just
> to keep the pitch up and center the sound.

When I play either a Leblanc or a Buffet, I do not alter my embouchure
pressure......with a tuner and my own ear, I do not discern a difference
in what role my established embouchure plays between the two instruments.

> Second issue: tuning. The Leblanc clarinets, the Concerto and Opus, as well
> as the Sonata objectively tune better than R-13's. The register tube
> placement of the R-13 causes a spread of the left hand tuning ratios. So
> to have an in tune high "C" you must have a somewhat flat thumb F, and a
> similar situation with "E" and"B".

Absolutely true! Thanks for explaining this one.....I have often wondered
why we frequently add the first trill key when playing louder passages on
the Thumb F.

> Recently I have
> had the opportunity to play a large number of Buffet product. The right hand
> resistance problem of past decades has been corrected to a noticeable degree.

this is nice to know!

> The upper claion left hand pitches, however, still tend toward stridence
> and metallic quality in many of these instruments; but over all it is an
> improved instrument. I wonder if that would have ever happened if we had not
> done what we did at Leblanc earlier this decade? I guess we can never know.

I have not noticed the strident qualities you describe when I try them,
but I do believe that your involvement with Leblanc's newer designs
impacted substantially on changes ALL clarinet makers have made in the
last several years.

Thanks for a helpful and humbling post!

Roger Garrett