Klarinet Archive - Posting 000938.txt from 1999/08

From: Carter412@-----.com
Subj: Re: [kl] turk's head as a ligature
Date: Tue, 31 Aug 1999 09:43:39 -0400

A good idea in theory, but my A and B-flat require different barrels. I
would rather sacrifice my ligature than intonation. :) Thanks for the
feedback. Good luck!
David Carter

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Date: Tue, 31 Aug 1999 08:25:42 -0600
From: Richard Bush <rbushidioglot@-----.net>
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Newsgroups: alt.music.clarinet
Subject: [donax-m] Care and Handling of Artist Grade Bass Clarinets

Care and Handling of Artist Grade Bass Clarinets
by Richard Bush

Bass clarinets are mechanically much more complicated than their soprano
clarinet counterparts. Because the keywork is a plateau configuration,
they have more pads, more key extensions and key pieces. Many of these
additional pads need to work in perfect unison. All of this freely
translates into more possible leaks, more adjustment problems and
costlier repairs when repairs are eventually needed. For these reasons
it behooves all bass clarinet players to take extra special care of
their instruments.

Avoid temperature extremes: Wooden bass clarinets need to be treated
with the same considerations as any other wooden instrument. Avoid
extended exposure to temperature extremes. Do not store near heat
registers, nor leave them in vehicles for extended periods where
temperatures can soar in the summer and plummet in winter.

If an instrument gets extremely cold, remove all parts from the case and
allow them to warm slowly and naturally before assembly or any playing.
Never blow hot breath into a frigid wooden instrument.

Assemble and disassemble with care: Many bass clarinets (mostly wooden,
five piece instruments) have two linkages between the two main sections.
One linkage corresponds to that found on any soprano clarinet . It
connects the keys of the lower stack with the Eb/Bb pad on the upper
stack, making possible the one and one fingering for first space Eb and
second register Bb. The second linkage interacts with the Bb/register
mechanism.

To avoid any key clashing of these linkages during assembly or
disassembly, the two sections need to be held in very specific ways. The
left hand should grasp the upper joint so that the throat tone A key is
depressed to an open position and the second finger key is kept closed.
Doing this will raise both overlying linkage arms at the bottom of the
upper joint.

The lower joint should be grasped in the right hand so that the main
row of keys closed by the first three fingers of the right hand are left
open. Grasp this section below, in the area of the F#/C# and F/C pad
cups. Grasp firmly so no keywork is twisted or bent. Doing so will leave
the underlying linkage arms at the top of the lower section in a down
position.

With the underlying linkage arms down and the overlying arms of the
upper joint raised, collisions and snagging will be avoided, and the
corks that quiet these connections and maintain their regulation will
stay intact.

There are also linkages at the bell and neck. When attaching the bell
hold the bell key closed until the bell is completely on and aligned.
When attaching the neck, just pay attention to what you're doing.

Manage interior moisture build up: Because of the bass clarinet’s neck
configuration, most of the moisture that is blown into the instrument
will collect at the bottom bow of the neck, right behind the mouthpiece.
This is good, but one must remember it is there.

Because of this, make it a habit to always keep the instrument in a
vertical playing position. Never rest the instrument across your lap,
on the floor or on an instrument case because this is when water will
run into the tone holes and damage the pads. As moisture gradually
accumulates and puddled in the neck during extended play, remove it by
tilting the instrument backward to an angle that will allow this
moisture to drain out the mouthpiece end. (If neck and mouthpiece are
kept clean, this simple act should not be found to be distasteful by the
player.)

Even though most moisture will stay in the neck, condensation will occur
in the upper half of the top joint. This moisture needs to be removed
before putting the instrument away in the case. Always swab the body
tubes and always swab from the bottom, pulling the swab toward the
mouthpiece end. Silk swabs designed for bass clarinet are good. Every
bass clarinet and every bass clarinet player should own and use a bass
clarinet swab. Don't forget about drying the necks. This can be harder
to do. Some body swabs won't go through the neck bends. Neck savers, a
fuzzy brush type swab on a flexible, twisted wire stem is one solution.
I would go for the big one designed for tenor saxophone necks.

Keep the body exterior and case clean: Because all tone holes are sealed
by pads, it is extremely important to keep the body and case free of
debris. Even a small foreign particle can cause a pin hole leak where
pad seals tone hole edge. A simple brushing with a supple 2 inch wide
paint brush will do a good job of “dusting” over, under and around all
of the mechanism and the tone hole seats. Keep the case clean too. It
won't do any good to keep the instrument clean if it is returned to a
case that resembles the bottom of a dirty bird cage. Cases can be
vacuumed or blown out with compressed air.

Protect the plated finish on the keys: Some people have chemistry that
eats keywork plating. Wiping away perspiration and finger grease will
prolong the keys’ plating. Use a soft cloth or chamois for this wipe
down and do it after every playing session.

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