Klarinet Archive - Posting 000331.txt from 2010/10

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] H?
Date: Sat, 30 Oct 2010 15:56:27 -0400

The clarinet Mozart wrote for in the concerto may created had issues of
another dimension because of the extended lower range. I don't know if this
wrinkle might have compounded the normal acoustical problems of adding a
hole (with or without key) that had to play in tune in both registers, but
it is just another dimension to the problem of adding keys to an 18th
century clarinet. And your analysis also applies to the quintet which has
chromatic passages, though not as many as the concerto.

Dan

----- Original Message -----
From: "Sean Osborn" <feanor33@-----.net>
To: <klarinet@-----.com>
Sent: Saturday, October 30, 2010 12:01 PM
Subject: Re: [kl] H?

> No, I wouldn't call a 5-key clarinet fully chromatic, but in Vienna,
> for those operas, they had better clarinets.
> Maybe Mozart was thinking of all the country places the Operas would
> be performed.
> I was thinking about the concerto which abounds with chromatic
> scales, and was written for a 13-keyed instrument I believe, though
> it was on the forefront of technology for the time.
>
> Of course, this brings to mind the question I've always had: If they
> realized that adding a key or two made the clarinet more versitile,
> why did it take them 100 years to add enough? I would have added a
> whole bunch more right away!
>
> Sean
>
>>Sean
>>
>>I wouldn't really call a 5-key clarinet fully chromatic, would you? In
>>fact
>>even where it could play the notes in sharp keys, the manuals of the
>>period
>>make clear that these notes were intended for trills, not for scalar
>>passages. They show separate fingering charts for scales and trills, and
>>the
>>former are much more restricted.
>>
>>Keith
>
> www.osbornmusic.com
>
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