 The Clarinet BBoard
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Author: Marcia Nottle
Date: 2001-05-14 06:05
Hi.
I have occasionally heard reference made to "the French" and "the German" stlye of clarinet playing. To what does this refer specifically and how is it different from North American playing, or is there any real difference?
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Author: Don Berger
Date: 2001-05-15 13:29
Hi Marcia- I feel badly that no one has offered an answer, so I'll try. This info is quite available here on Sneezy, a Search of the Phorum will turn up a lot, also the "Early Clarinet" site is VG. I have several of what I call "good books" with clarinets/woodwinds in the titles, and generally depend on Lawson, Brymer, Rendall, Pino, Baines, Groves Dictionary etc. At least some of these will be available, even in smaller libraries. To me, there are the two basic "systems" which, with many variations, have both descended from the "Albert/Mueller" early 1800's horns, as modified/improved by Boehm/Klose/Sax [French] and Oehler etc [German] . Each has many good design features and, as always, a few drawbacks/differences [for us to compare, discuss and even argue over!!]. Each is now widely used Have a good study, others please help! Don
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Author: ron b
Date: 2001-05-15 18:29
Hi, Marcia !
Don, could be we all just took a long siesta ............... : [ y a w n ]
Nothing wrong with the topic. It's a good topic. However, I think we need to clarify: are we talking about German vs French *sound* or Gr - Fr clarinet fingering systems? Both were imported to North America.
I take the question to be - what is the difference between German, French and North American styles of playing (technique) by the respective clarinet players -- comparisons of tone qualitiy -- differences such as: Vibrato; wide - narrow - feeble - none. Tone; dark, heavy, airy, light, etc.
Or, are there really any differences at all? Are they the individual players' styles? Are those perceived differences actually due to the influence/interpretation of the conductor, the 'boss' ?
Are we discussing indoor symphonic, cabaret, or outdoor band concert performing or street corner serenading ?
I don't know :
- ron b -
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Author: Don Berger
Date: 2001-05-15 20:41
Thank YOU , Mark, I just was not aware of this "textbook" on cl playing etc , available to all. I'll print it off for study!, and search some more. Don
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Author: Mark Pinner
Date: 2001-05-16 00:09
The German and French sounds are quite different. I have recently had an incident where my German sound was deemed unacceptable by a conductor although I suspect he didn't have the faintest idea of what he was after but used me as a scapegoat.
I have found many bassoonists prefer the German sound and so do many chamber groups. I know little of the American sound in the orchestral sense but suspect it is distinctive but based more on the boehm clarinet sound and using larger bored horns LeBlanc opus and Buffet festival.
There is also a difference in the sound made by Austrian clarinettists who prefer a bell ring, the Germans do not, and the Eastern Europeans who play the German system. Differences in sound can vary in Europe from orchestra to orchestra, band to band.
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Author: ron b
Date: 2001-05-16 07:16
Hi -
I'm of the bigoted, opinionated, stubborn notion that the sound, i.e. 'tone color', is produced by the individual [player] to suit the piece being performed. It has nothing to do with east, west or points in between and very little to do with the kind of horn being used to make the music. One player will not sound like another no matter how much the effort to do so. However, a player *can* change the hue. If a conductor doesn't hear that 'color' you can expect some, uh, 'concern'... Not all conductors are versed in woodwind techniques, so they can't tell you *how* to do it. But, they *do* know what they want and it's up to the player to produce it.
- ron b -
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Author: Rene
Date: 2001-05-16 08:00
Ron, what about Jack Brymer's book? He writes that the narrow, heavy reed that most German clarinetist use produces a different sound than the wider, lighter reeds of the "French" school. From my little experience, there must be a difference in sound concerning to these huge differences.
But maybe I misunderstood you. When you say that each clarinetist produces his own sound, do you include individual choice of reeds and mouthpieces?
Rene, who just wants to know.
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Author: ron b
Date: 2001-05-16 16:50
Hi, Rene -
Thanks for your question. I'm still in clarinet boot camp with that other guy so your question helps me try to think things through. Better? I'm not sure :| But, I'm of the opinion that:
The individual player will eventually discover and use a reed-mouthpiece that responds best - (not perfectly, 'best'). A heavy, narrow reed will certainly sound different than a wider, lighter one. I don't believe the same player will be equally comfortable with both. One setup will respond 'better'. The 'software' - embouchure, mpc angle, mouth configuration, air support all contribute more to *individual* sound than does the 'hardware' - mpc/reed, lig etc.
I find individual players' sounds to be much like regional dialects in speech. While we are all speaking the same language, communicating perfectly well, we can identify, to some extent, generally where we hail from. As we become better acquainted we're able to distinguish one another by voice characteristics alone - as by telephone conversation. We become very keenly aware after awhile whether someone is delighted or disgusted by the 'tone of voice'.
Well, French certainly does sound different than German. No question about that  BIG difference! Folks in North America sound different than folks in England, German speakers from Indiana sound different than folks in Frankfurt. Not so big a difference. I get the point about big reed/mpc differences affecting tone. No question about that
By Tone Color I mean... would you play 'You Are My Sunshine' with the same sound as 'Time On My Hands'?
Try playing 'Mood Indigo' with a 'Pop Goes the Weasle' sound.... :]
- ron b -
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Author: thomas
Date: 2001-05-16 18:42
I play a german clarinet and a Buffet. I use on both mps (Zinner blank) the same facing (Viotto G3 which is very popular in Germany) and use the same reeds (Vandoren white master 3 ). The difference between the german instrument and the Buffet is tremendous even if you use the same mp-reed-setup. The German clarinet has much more resistance ( therefore the reeds have to be a little bit softer) than the Buffet. The sound colour is totally different. The German clarinet is very dark, compact, keeps shape of the tone if you play loud in the higher register, the tone does not loose his quality if you play pp in the upper register. The Buffet sounds brighter, more resonant, more direct, not so covered. In the upper register it tends to be a little metallic at ff and the sound looses his contour in pp. But you have less resistance and much more possibilities concerning variation of sound color. So what is better? I love both systems. Every system has its advantages depending on the piece you are playing and the mood you are in. For me the systems do not compete, they complement each other.
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Author: Karlheinz
Date: 2001-05-18 15:19
Sorry for coming in late. I had to recover the URL of a work, performed by Miwa Takaki, student at the "Institut fuer Wiener Klanstil" on the subject, tha I found very interesting
http://iwk.mdw.ac.at/hausarbeiten/TakagiMagArbeit.pdf
It is a huge PDF file and in german! But some might find it interesting too because it is very detailed. sticks to scientific rules and incorporates opinions of people having own experience on both systems.
Karlheinz
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