 The Clarinet BBoard
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Author: D
Date: 2005-07-02 20:31
Well the question is in the title! What is it? I couldn't work it out from the info I already have found on the site. I know it is found on a full boehm and 3/4 boehm, but that is about the limit of my knowledge. Is it anything like a split E on a flute?
Thanks in advance
D
Post Edited (2005-07-02 20:31)
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Author: GBK
Date: 2005-07-03 02:01
A search of the archives on "articulated G#" (no quotes needed) and you would have found:
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=40379&t=40281
The search function works very well. Please use it before posting a new question. With the hundreds of thousands of collected posts and articles from different sources, the chances are very good it has been asked and answered before...GBK
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Author: Terry Stibal
Date: 2005-07-03 02:06
This is the same mechanism found on 99% of saxophones. It allows you to hold down the C#/G# key while playing any note below it (with the right hand) and the note sounds properly. Some horns also have a "sliver key" similar to the one between the second and third rings on the lower joint that is attached to the mechanism, which allows for a smooth trill with the first finger right hand.
Advantages are lots of smooth articulations in extreme keys (you'll love it in three sharps and above, particularly with arpeggi). Disadvantages are that you lose a few "classic" fingerings in the altissimo register. For the classical clarinetist, this can be a big deal. It's never bothered me, but then again most of the playing I do is in the lower two registers.
You'll have trouble purchasing a clarinet with same included these days. LeBlanc still makes the Pete Fountain horn, which may have same on it, but otherwise it's only found on the Amati "full 'Boehm'" or on a custom made horn.
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: D
Date: 2005-07-03 08:27
GBK,
Thanks for your response, but as I said I didn't really understand the information I had already found on the site. I had read the thread you indicated and just ended up more confused.
Terry thank you even more. Things are much clearer now. I had never come across the mechanism and I was having trouble rationalising the point of a key which seemed only to be useful for one trill and one series on notes, but would weaken the tennon, and muck up some very useful altissimo fingerings. It makes much more sense with the explanation about playing with lots of sharps. Thank you very much.
D
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Author: Terry Stibal
Date: 2005-07-04 16:02
Other advantages of the articulated G#/C# are:
o The tone hole is both properly placed (in the center of the run of the finger holes up the front of the horn) and properly sized. This not only markedly improves the two notes listed both in timbre and in intonation (plus, depending on the horn, some of the third register tones as well; each horn varies way up there as to what works best), but it also keeps the hole out of the line of condensation flowing down the rear of the horn.
In over thirty five years of clarinet playing on horns with the articulated G#/C#, I've never once had to "blow out" that tone hole on the horn. No gurgles, no cigarette paper, no problems at all. There aren't too many others who play clarinet all of the time that can make that claim.
o While the hole's placement does require it to be cut through the tenor and the socket joint at the center of the horn, all of them made from 1930 onward that I have seen have a metal socket in the top of the lower joint. This more than deals with the strength issue. Single piece horns, of course, completely eliminate this problem.
o As someone else also mentioned, having this on the soprano horn regularizes the fingering across all of the normal reed doubles. Virtually every saxophone has the articulated mechanism, and most professional bass clarinets have included it for the past thirty years or so as well. Mind you, I've never had any troubles switching to Eb or C on those occasions when I've had to play a Boehm horn without the mechanism, but it's one less thing to interfere with the process of making music. (Ditto when changing to an Albert or Oehler system horn; I've got a few of those as well.)
However, the major disadvantage is that you can't get the G#/C# on what would be considered a "pro" horn at this time. With the single exception of the 1612 and 1612S "upgraded" Pete Fountain models from Leblanc, you can't order the mechanism through any of the big four makers.
(The 1612S is the Pete Fountain horn without the gaudy gold plated keywork, plus (despite the description on the website) you also get the fork Bb/Eb "extra ring". No left hand Eb/Ab lever, though.)
If you want the "full Boehm" experience, you're pretty much limited to the Amati (I've never played one of these; others may have their opinions however), a custom built horn, or to picking up one of the few Leblanc horns (back from the first days of the "jump trill key" design) or of the many Selmer Series 9 and 10G horns on the used market.
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Terry Stibal
Date: 2005-07-04 16:27
Beat me to it Dave; I couldn't access the The Music Group website when I wrote the above, but now I see that you can purchase "full Boehm" horns in BOTH A and Bb from Buffet.
The low Eb lever is listed as an "option" and is not described in the "also available in full Boehm" description, but the key and ring numbers are consistent with the "standard" setup.
I accessed the whole Leblanc website, and the Pete Fountain horn is the only one available. This is odd for a firm that used to list variations on every pro horn from 17/6 to 20/7, and from Ab sopranino down to the BBb contrabass. Selmer's site wasn't working for the pro clarinets, and Yamaha hasn't traveled down the full Boehm road to date.
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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