Klarinet Archive - Posting 000255.txt from 1999/05

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] C Clarinets
Date: Sat, 8 May 1999 20:54:28 -0400

On Sat, 8 May 1999, Dan Leeson: LEESON@-----.edu wrote:
> It was a rule in clarinet playing that the instrument could
> only execute in the written keys of C, F, and less frequently
> G. Mozart taught his students never to write for clarinets
> in anything but C and F, though he later relented to allow for
> written G.
>
> The clarinet type was selected that enabled the clarinet player
> to play in these non restricted keys no matter what the concert
> pitch was.
>
> So given a concert key of say A major, a clarinet was selected
> that would put its written key in C, F, or G, in this case either
> the A or the B-natural clarinet.

Dan, this information is terrific. When will this paper be
published.....or, has it been already? Will it be available?

I am curious - in Beethoven's case - is there any evidence to lend
credibility that he was writing for a specific clarinet rather than what
key could be more easily played with a particular instrument? I'm not
asking to fuel the flames - I am asking that, even in light if the
innovation of later, more sophisticated clarinets, if you know if
Beethoven was striving for a particular sound?

Someone posted regarding the Eb clarinet as Peter Hadcock played it -
being the same sound (almost) as his Bb/A clarinet playing. John Yeh
sounds very similar on his Eb as he does on his Bb. In fact, he sounds
similar on his C as he does his Eb and D. I wonder if this is something
that could only be done in this century - with the advent of better
clarinets, engineering, etc. I own a couple of very old clarinets - 2
5-key clarinets, and one 14 key A clarinet - all in beautiful shape (ivory
and all) - I wonder what the difference is in the way that they sound?
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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