Klarinet Archive - Posting 000854.txt from 2002/07

From: George Kidder <gkidder@-----.org>
Subj: Re: [kl] Conservative Clarinet Ranges: Well?
Date: Sun, 28 Jul 2002 19:43:53 -0400

Bear,

Aside from the question of range, which has been well answered, you might
be aware of some other foibles of this unusual instrument. As a player of
very modest attainments, I think I am in a good position to speak about
things difficult for such players as I:

1) Like most wind instruments, there are various "registers" which
correspond to different pitch ranges. Unlike all other wind instruments,
the clarinet family's fundamental and second range are NOT an octave apart,
but a 12th. The lower register runs from (written) E (below the staff)
through Bb (center line), while the second register runs from B (center
line) through C (above the staff.) The highest notes which have been
mentioned are in a third and perhaps a fourth register. The consequence is
that, for instance, the fingering for the C in the middle of the lower
range is different from that for either of the C's in the second
register. In practice, this makes it more difficult for a clarinet player
to respond to a passage written "8ve" than it is for other instruments,
since both the register and the fingering must be changed on the fly.

2) Between the lower and upper registers are the "throat tones", from
second-line G through middle line Bb. These are often of a different
timbre than the other tones, and not as satisfactory. This is particularly
true of the middle line Bb, since it is vented through a hole which is
really too small, since this vent is also used as the register key. Many
bass clarinets and some special soprano clarinets have two keys for these
two functions. Another note which is often somewhat unsatisfactory is the
C# (lower register)/G# (upper register) - again, the vent for this note is
too small, since the hole must be placed too high to miss the center
joint. Therefore, it might be well to attempt to avoid these notes in
exposed situations.

3) Playing a clarinet in remote keys (many sharps or flats) is not just
the mental problem of remembering the key, as it is for strings and
keyboard instruments. There is also the mechanical problem of moving more
fingers simultaneously, since playing the sharped or flatted version of
most notes involves pressing additional keys. Indeed, some combinations of
notes in series are very difficult to impossible, as witness the
discussions on this list about fingerings for certain passages.

4) Finally, passages which "cross the break" between the registers
(between middle line Bb and the B above that) are easy or difficult
depending on just what is required. There are some "extra" keys which may
help in this transition (by allowing notes up to 3rd space C to be played
in the lower register) but they are not generally admired. Cross the
break, by all means, but don't bobble around across it as if it weren't there.

Obviously, you must decide on the musical requirements for various notes
and combinations of notes, but if your goal is to produce something that is
playable by less-than-expert players, you may want to keep these comments
in mind. My remarks have been general, of necessity: if you really want to
find out whether some combination is a "piece of cake" or a "bear" (pun
intended), give it to a clarinet player to try.

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