Author: Terry Stibal
Date: 2004-06-04 19:52
Part of the terminology problem is due to the way that the various mechanisms developed over the years. Ideally, we should have a term for each device that would isolate it in the minds of all. However, most do not have access to the patent drawings, the actual implementations sometimes differ from the patent drawings, and many have never even seen some of the devices depicted by the patent drawings, much less used them.
(This is my pet peeve about the articulated G# mechanism. I've used it for over thirty years, and have never had a problem with same, but you see all sorts of folks who talk it down, but who when questioned admit that they've never used one. With so few around, it is hard to get in the experience, but until it's there perhaps one should avoid forming an opinion on same...)
As I said before, I really like the old, two touchpiece, two vent arrangement (which I used on old Buffet Albert "system" horns for many years). But, I also know that most here will never see a two register key bass clarinet, much less have any playing experience on same. And, Buffet apparently didn't deem it necessary to set up a comparison collection so that these wonderful (if somewhat funky feeling) horns can be placed in everyone's hands. Ditto A bass clarinets, six key clarinets, and so forth.
he collection up in South Dakota would be a nice reference, but it's in South Dakota for starters, and even it is not complete. And, even for what's there, there would be a (very understandable) reluctance to allow every Tom, Dick and Harry to come in and start noodling around on what may be a one of a kind item.
With an eye to some form of standardization, I'm sure that they (i.e., the manufacturers) have had a "name" for what they most likely patented or licensed. But, tracking it down at this remove is more trouble than I want to go.
From a purely pictorial standpoint, the PTO here in the US has many modern patents listed in the online database (including my 4,796,507 for a woodwind mouthpiece ligature; check it out when you have the time), but most of the older ones are still not included. Researching them manually is a pain in the ass (voice of experience here) unless you've got the depository library in your own backyard.
And, term wise it would be nice to get these all pinned down to some set formularly, but there still remains the dissemination problem (i.e., getting it out to all so that there is a visual representation (photo or diagram) and a standard term for each). Until that succeeds, it's going to be hard to come to a "common understanding" on what's being discussed.
Hence my use of the "LeBlanc" term for the single key, two holes on body of horn version. Even though I've seen something very similar on the various Selmer student horns, LeBlanc seemed to be wedded to this (less capable but far, far sturdier) system for virtually all of its harmony instruments up until quite recently. As they seemed to be the 'champion' of the "system", I always discuss that particular arrangement with a reference to the most common user of same.
However, while the holes were in roughly the same place, and the keywork about the same, the mechanism that activated this "LeBlanc" type register mechanism had some differences between Selmer, LeBlanc and one Yamaha horn that I saw it with back in the Eighties. All when played seemed to have the same characteristics, same "jump" when going over the break, and relatively the same voicing of the mid-staff Bb.
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The Clarinet BBoard
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