Klarinet Archive - Posting 000523.txt from 1998/07
From: <CmdrHerel@-----.com>
Subj: Re: [kl] Re: Left hand Eb/Bb key
Date: Sun, 19 Jul 1998 11:19:25 -0400
Good morning Robert!
I have a few points to make in regard to your post, so I'll cut your reply up
and take them one at a time.
<< Re: The discusion of this little key on the top joint of the clarinet,
have none of the discussants read Rosario Mazzeo's book? Is reading out
of fashion amoung clarinettists?>>
No, I have not read Mazzeo's book yet, but I find wording of this comment to
be rude. If clarinetists didn't like to read, we wouldn't be on this list.
However, having not read his book in no way discredits anything I have to say
about using the sliver and side keys of the clarinet.
<<Anyway, Mazzeo advocates this left hand Eb/Bb fingering for use in
chromactic passages, to replace use of the side key, thereby keeping the
right hand still and improving facility. He makes the following
argument (here paraphrased) to those who find the fingering
"awkward"--'you have used the side Eb/Bb key for years. You are used to
it. Use the left hand key for as long as you have used the right, and
you will be used to THAT fingering, too. You will then be doubly
skilled and your technique will have improved.'>>
I agree that both keys are useful and use of both should be developed.
However... I disagree that using the side key would make the right hand move:
I've worked for years to keep my right hand absolutely still and I only move
the index finger to reach the side key. Both keys are equally comfortable and
fluid for me with no disruption to hand position. (And I do plan to read his
book. By *reading* your post, I am reminded that he did indeed write it and
I'd forgotten about it. :)
<< That said, I find it strange that two holes are provided for the right
and left hand Eb/Bb keys. With a bit of silver rod and a spring, both
keys could open a single hole, and there would be one less potential
leak in the top joint, and one less acoustical distraction eating up
energy and making the clarinet play out of tune. Before you reply to
THIS point, read the sections on woodwind acoustics in any modern text,
which will point out the each deviation from an ideal cylinder (provided
by a tone hole extending off the bore, or a thumb key sticking a third
of the way into the bore) disturbs the standing waves in the bore and
contributes to inharmonicity amoung the partials of a given tone, thus
leading to the pitch problems that we all know and "love"...>>
I think, Robert, that with a degree in physics I can respond to THIS point.
(Again, I find your condescending manner of posting to be unnecessary.)
The clarinet is acoustically based on an ideal cylinder. However, the
deviations from this ideal cylinder are great. If, for example, you count the
holes in the bore of the clarinet, I can with a foundation of physics say that
the difference of one less tone hole would be insignificant and undetectable
by any listener.
So when balancing this undetectable (except by Fourier analysis) disturbance
to the standing wave, to the added benefit of the alternate key, I see no
reason to not have this little extra hole.
Also, these deviations from the ideal cylinder "leading to the pitch problems
that we all know and 'love'..." are the same deviations which give the
clarinet it's empirical distinctiveness in tone and color. The overall effect
and disturbance to the ideal standing wave in the bore would be sorely missed
and the clarinet would hardly sound like a clarinet anymore, but rather an
ideal cylinder with a mouthpiece stuck on one end. (And with care of size and
placement, most of these pitch problems can be and have been eliminated. My
1968 R-13 has beautiful intonation. It also has an exceptional pad-job
including adjustment of pad and key heights.)
When discussing physics as applied to wind instruments, one has to keep in
mind that we have come a far, far distance from the ideal model that the
instrument is based on! It's easy to read a physics acoustical text and be
shocked at how a wave can be effected by hole placement and changes in bore
shape. The clarinet is a combination many deviations, as is a bassoon, an
oboe, a flute or a horn.
Also, I would be wary to mess with the key mechanisms in order to attach both
of these keys to the same hole. While having one less hole would give you one
less leaky pad to worry about, the extra key mechanism would *add* something
to worry about. I think key joints (any pivot or lever making two keys work
together) go out of whack as much as pads do, requiring attention to be payed
to spring tension, cork compression, and rod fit.
Teri Herel
(waiting for someone else to count the number of holes in the clarinet as I'd
rather go over the Stravinsky octet runs today instead...)
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