Klarinet Archive - Posting 000123.txt from 2008/03

From: "danyel" <rab@-----.de>
Subj: Re: [kl] key signatures on clarinet/mouthpieces
Date: Sat, 15 Mar 2008 05:36:28 -0400

C-Db is not hard, but Db-Eb involves sliding the right hand little finger
from C to Eb, later facilitated by the rollers on those keys, but very bad
on a 5 key instrument. Low Db simply did not exist (the forked fingering
worked well for the clarino Ab, but not in the chalumeau).

best wishes,
danyel

www.echoton.de/clar.html

----- Original Message -----
From: "Doug Sears" <dsears@-----.net>
To: <klarinet@-----.org>
Sent: Saturday, March 15, 2008 4:38 AM
Subject: Re: [kl] key signatures on clarinet/mouthpieces

> Think of playing the scales:
> Ab scale, you go from C to Db to Eb (not hard, right?)
> D scale, you go from B to C# (harder, I think)
>
> I'm guessing here. I don't have any actual experience with a 5-key
> clarinet.
>
> --Doug Sears
>
> ----- Original Message -----
> From: "Keith Bowen" <bowenk@-----.com>
> To: <klarinet@-----.org>
> Sent: Friday, March 14, 2008 3:04 PM
> Subject: RE: [kl] key signatures on clarinet/mouthpieces
>
>
> Could it be something to do with the fact that C# and D flat were
> perceived
> as different notes, with different fingerings given in eg Quantz's
> (baroque)
> flute tutor? D flat was sharper than C#.
>
> Keith Bowen
>
> -----Original Message-----
> From: klarinet-return-93048-bowenk=compuserve.com@-----.org
> [mailto:klarinet-return-93048-bowenk=compuserve.com@-----.org] On
> Behalf
> Of Daniel Leeson
> Sent: 14 March 2008 15:30
> To: klarinet@-----.org
> Subject: RE: [kl] key signatures on clarinet/mouthpieces
>
> Good comment Margaret, but I want to clarify a point regarding key
> signatures. For a reason that surpasses all attempts at understanding,
> the
> key restriction for clarinets in the 18th century was for sharp keys, not
> for flat keys.
>
> Mozart wrote for 4 flats on several occasions including the basset horns
> in
> one of the variations of the Gran Partitta, and the clarinets in one of
> his
> choral works. He also wrote for clarinets in 2 flats on several occasions.
> It was the sharp keys where the contraint existed, and I have to conclude
> that it was a function of playing the note c-sharp. Why d-flat was OK,
> but
> c-sharp was not, surpasses my understanding of the problem.
>
> Dan Leeson
> dnleeson@-----.net
> SKYPE: dnleeson
>
>
>
>
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