Klarinet Archive - Posting 000474.txt from 2002/04

From: The Guy on the Couch <jnohe@-----.Edu>
Subj: Re: [kl] Octave repeaters vs. Twelfth repeaters
Date: Thu, 18 Apr 2002 02:36:23 -0400

On Wed, 17 Apr 2002, Rick Campbell wrote:

> As a good saxophonist, weak clarinetist, and sometime bassoonist, the
> unique feature that divides us on the issue of "woodwinds" must be that
> only, ONLY, the clarinet fails to repeat on the octave, a damnable
> deficiency in my mind.

Personally, I find it a strength. being able to think it 12ths first made
sax, flute, and oboe that much easier, fingerwise, when I went to pick
them up.

> That places terrible demands on the clarinetist

I don't think so. It makes it super easy to go to a tritone resolution in
jazz. Play a chord, then play it a half step down plus the register key.

> instruments "woodwind". Someday there will be an improved clarinet which
> is easier to play, and more popular, but only after the "I learned the
> Boehm system and so must you" academy are gone.

There have been numerous systems that differ from the Boehm - none of
which are widely used anymore (except the Oehler). Many of these other
systems attempted to correct this claimed deficiency, but obviously the
drawbacks outweighed the benefits (more keys, more weight, etc). If the
Boehm continues to be dominant, it's because it works best for the time
being, not because we're stodgy.

> Have you ever asked yourself why there has not been a hugely popular
> clarinetist since Benny Goodman and Artie Shaw?

Sure. Those guys were playing THE pop music of the day. But clarinet
players don't play pop music anymore, because that's not what people want.
It has nothing to do with the clarinet's deficiency. It has to do with
what the masses like to hear. There are HUGELY popular clarinet players
today, but they are known to clarinet players, because they are the ones
who care.

> Just think what a standard L4 Eb key would do for ease of playing.

Give it another 10 years. It's pretty close to being standard now.

> Or an improved throat Bb with some of the more complex linkage of the
> saxophone's two vents.

A soprano clarinet's bore is too narrow and two short to really benefit
from this. Mazzeo-Boehm clarinets attempted this; but we don't see them
anymore. Must have been some drawbacks. Besides, my throat Bb sounds
great, because I don't use the register key. You don't have to, either.
Use the side fingering. Sounds gorgeous, and you can even still vent with
the ring and pinking fingers. Passage too fast? Then use the register
key - the note passes by too quickly to make a difference anyways.

> Or even more closed hole clarinets (I hear the flute guys do that).

But oddly enough - professional flautists all use *gasp* OPEN-holed
flutes! Gee, there must be SOME benefit...oh yeah, intonation control,
portamento, a wider range of alternate fingerings...

> Yes, in 1800, hand manufacturing cost was a major concern, but in the
> days of $3000 clarinets, shouldn't we have advances?

Where've you been? There HAVE been advances. Look at the drastic changes
in bore sizes post-1950. Look at tone hole placement and ergonomics.
Look at key and pad design. Greenline and various other synthetic
advances...I haven't even mentioned intonation yet! (Compare the
intonation on a 1920's Naked Lady and 1990's Super Action
80II...the improvement is just as noticble between a 1920's Buffet and a
1990's Prestige.)

> Why must we insist that the instrument remain difficult to play. After

Funny - I don't find the instrument difficult to play AT ALL. I find that
altissimo and pitch control are far more easy on the clarinet than on the
sax or the oboe. And I don't find those instruments particularly
difficult to play either.

ALL INSTRUMENTS, winds, strings, percussion, even the voice...they're easy
to play. What's DIFFICULT is playing them REALLY REALLY REALLY well. And
the sax and the oboe and the bassoon are all just as difficult to play
really really really well. And if you want to play anything really well,
then get out your metronome, do your long tones, your technical studies,
and your etudes. Get someone qualified to critique you, maybe even
instruct you.

It's said that Coltrane once lost a pad just before a gig, but he played
the gig successfully anyways. A craftsman is beyond blaming his or her
tools.

J. Shouryu Nohe
Grad Assistant, New Mexico State University
"I think we have a ghost in our house." - Kaycee Nicole
"I should probably be playing Buffet." - Steve Moore

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