 The Clarinet BBoard
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Author: Mitch
Date: 2003-02-15 04:15
Hello:
I'm just curious about the experiences of French/American/English Boehm system players who have decided to try a German clarinet. Is the fingering system difficult to get used to? The German mouthpiece and reed setup?
Based on many posts on this forum re: Amati clarinets, it seems at least conceivable that one can purchase a German system clarinet for a reasonable amount of money.
Any input would be appreciated.
Regards,
Mitch
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Author: ron b
Date: 2003-02-15 07:30
Hi, Mitch
I decided to 'try' the Boehm system so, this is slightly a reverse answer to your question.
I've played, primarily, Albert or German system clarinets since I was a kid. I currently live in Sacramento, California so my observation is a North American's opinion/input. I'd like to add here, by the way, that there are a few Albert players around this neck o' the woods.
I play Boehm horns, soprano, alto and bass reasonably well but prefer the Albert and I guess that's only because it's what I'm most used to. I don't find the different fingerings difficult to get used to because, whatever horn you play you have to practice anyway. Since I recently began 'teaching' a young beginner, I've had to re-familiarize myself with the Boehm. But no, I don't think either one is more or less difficult, just different; each has its quirks and compromises. I use the same Steel Ebonite mouthpiece on all my soprano instruments (Albert, Oehler, Boehm and Simple).
All my personal (Albert) instruments, except one, are 'pre-owned' and I bought that one, a Moennig Bros., when I lived in Germany. Uncle Sam allowed me to bring it home duty free.
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Author: Mark Pinner
Date: 2003-02-17 20:55
As above I am an Oehler system player and I started on an Albert. I was somewhat co-erced into playing the Boehm system in the army and got used to it. I went back to the simple system as quick as I could. I have always played Boehm in some way mainly testing repairs in the workshop. I lose quite a bit technically in the switch to Boehm but I do actually use correct Boehm fingerings. On the rare occasson I play alto or bass I can play Boehm fingerings comfortably as the technical demands are generally not as high. These days I play mainly sax with clarinet double and also play the bassoon so fingering changes are not as big a drama as for a dedicated clarinettist. In my biased opinion everybody should be playing German system.
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Author: jez
Date: 2003-04-04 11:19
Mitch,
I am a Boehm player who has just started the switch. I don't want to change completely, but want to have the option to play the Oehler in music in which it seems appropriate.
The fingering system is, obviously different, but not too difficult to get used to. There seems a certain logic in it and some passages work out much easier. It generally feels more comfortable playing in sharp keys while the Boehm suits flats.
I'm finding, at the moment, that problems occur in a few areas:
Throat A shouldn't seem different, but I'm used to it not mattering on the Boehm whether or not the G# key is down as well. It does on the Oehler so you've got to make sure you don't hold them down together.
I wish I'd got used to using the LH Eb/Bb key on the Boehm. You need it a lot.
I've got big hands but feel the stretch is noticably more. People with short fingers could have a problem reaching some keys and even keeping the open holes covered.
The plus-points are that I prefer the bottom end of the top register C#6-G6 and like having the control of tuning the R thumb key gives.
I can't make such a big sound and have had to learn not to try or it sounds too forced.
It's not so easy to find so many mouthpieces to try but I'm reasonably happy with the Vandoren German one I've got which is readily available.
The Oehler is like a developmnt of the Albert with keys added to make things more feasible, so you could have a go at learning to play that first before you take the plunge, if there's one to hand, that's what I did.
I've been enjoying the experience a lot. It puts a different perspective on familiar music and really suits some pieces.
Good luck.
jez
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Author: JMcAulay
Date: 2003-04-04 16:28
My best German instrument is a Richard Keilwerth "Top Sound" which is one step below an Oehler. It is a 22 key, 6 ring Clarinet. It is quite enjoyable to play on occasion.
As one who doubled on saxophone for many years, the change from Boehm to German fingerings was not a great problem to me. And for whatever reason, when moving from a Boehm to German instrument, it seems natural to use the different RH fingerings. Similar to automatically driving ion the left side of the roadway in a right-hand drive car, perhaps.
Accustoming myself to the stretch of the right hand (mostly R1) was a bit difficult for me, but the hand eventually didn't mind so much. After a while, going from one instrument to the other becomes almost second nature. Perhaps my play on the German instrument will never be as good as on the Boehm, simply because of experience, but so what.
For a *really* low-end German-system Clarinet, it is not not recommended that you look at a "Wurzburg" instrument sold thorough eBay. They occasionally sell for less than fifty bux. Despite what they may be, one easily could believe they must be better than the Indian Army red-pad lamp stands.
Regards,
John
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Author: kennychw
Date: 2003-04-05 04:54
Hi
like JMcAulay, I own a Richard Keilwerth "Top Sound" German system. There are differences compared to the usual boehm system.
You need to stretch your RH fingers abit more as the tone holes are wider apart. The fingering system favours the sharp key signatures (especially D and G major). Any music with key signature that has more flats than Bb major would be more difficult to play compared to the Boehm.
Tone wise, my Keilwerth will sound better than my boehm if I could get proper german reeds. It is hopelessly soft when played in a band.
OH YES... THE TUNING OF MY INSTRUMENT IS A=445. Be careful in your selection!
Get an instrument with that has at least 6 rings, a left hand F/Bb. The left hand alternate C/F key seems quite useless. My mouthpiece comes with the instrument. I thinks its a Zinner "M95". I use white master #3 reeds though I prefer something softer
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Author: Mark Pinner
Date: 2003-04-05 05:38
I do not generally use a German mouthpiece even though I have several and can play on them. For small group playing, which can be anything from modern jazz to polkas, I use a Pomarico 4 which I think is equivalent to a diamond. This allows me to use a very soft reed which gives a little more flexibility and produce a more intense tone. I also find it allows me to use vibrato more tastefully. For military band playing I use a C85 120 with hard reeds. This allows me to sustain for longer in the high register and produce a more legit sound. I have a few German mouthpieces which these days I hardly use. I have a Vandoren VD3 which is nice and prissy and produces a fairly subdued sound. It is a mid ranged lay for this sort of mouthpiece and plays nicely with white master 2 1/2 or 3's. I have a Zinner blank with a Zinner facing hand inscribed S95, green hard rubber. I have the original that came with the Yamaha clarinet I use mostly which is engraved with the same script as the Zinner J90. Both of these are close lays and need at white master 3. These mouthpieces are great for orchestral legit German style but absolutely hopeless for commercial or jazz playing. Horn wise I have two Oehlers. The main horn is a Yamaha 457 20 key and ring model, with left hand G#/Eb which is in their intermediate professional range and is fine for the work I do. It is as tough as hell. My back up is an F.Arthur Uebel 20 key and ring but with an oboe style left hand F which helps because the low Bb forked is stuffy as hell and the chromatic fingering is not always feasible. My simple system collection is varied. I have a fully preserved working orchestral pair of Barret Action Clinton system Boosey & Co 1931. With original serial numbered mouthpiece which takes a German reed. They have German silver lined barrels with sleeves and tenon receivers. Awesome workmanship. I have a Henri Farny Albert and two Baermanns in blackwood one a very early Kohlert circa 1870 and an unmarked Eb with one less key which is Czech because of the mechanics, shepherds crook drill rods, and lack of pin springs. The only Boehm I own is a Selmer N Series A under restoration. Of course I have an Orient Company Eb which is about to become a lamp!
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