 The Clarinet BBoard
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Author: Alphie
Date: 2000-05-13 01:51
Ken!
Thanks for your quick replay. I can't tell whether it's the pads or the wood that causes the
trouble for my colleagues in the RSO. They claim it's the wood but I'll talk to them again to
see if they have solved the problem yet.
About sound quality. My feeling about the Selmer BBb rosewood contra is that it's more
even over the whole register. I agree that specially the low register is more narrow than the
LeBlanc paperclip model, but it's so much better in the clarion-range where the LeBlanc
sometimes tend to sound a bit like a rusty bike. You say that it sounds too much like a
bass-cl. and maybe you're right. But on the paperclip I miss the flexibility and the quick
response of the straight model. And for chamber-music or small groups you will need that
sooner rather than later. The paperclip (PC) is so powerful in the low range and therefore
perfect for orchestra and band.
With chamber-music I mean contemporary original music written for contra and not
band-arrangements, like the music dedicated to Harry Sparnaay and his bass clarinet
collective. I just listened to their album "Ladder of escape" from 1988 and there are two
pieces with contras. Enrique Raxach: Vórtice (whirlpool) scored for six bass clarinets and
three BBb contras. Also, Michael Smetanin: Ladder of escape, scored for seven bass
clarinets and two BBb contras. The music just hits you in the most awesome way. The label
is Attacca Records, Babel 8635-4. I once played in the same concert as them and as far as
I can recall they were using PCs, but if it's getting more virtuoso than that, the PCs are just
going to be too slow.
My only experience with clarinet choir is a one time experience with Walter Boykens
clarinet choir in Antwerp. I happened to be on tour in Belgium and they needed an
alto-clarinet for a concert the same day. That was my first professional experience on the
alto clarinet. Clarinet choir is not a big thing in Europe, but from that experience I agree
with you that the PCs that they were using, (members of Harry Sparnaay's group) were a
great support in the band.
My only personal experiences with contra is in Symphony Orchestra on PC. I remember
playing Corigliano's first symphony. He dedicated the piece to a friend who died of aids. If I
remember the interpretation right, there is a pretty gay(!) and happy melody in the middle of
the piece that symbolizes his happy life. This melody is slowly falling apart and soon it's
destroyed. This symbolizes what happened when he got the message. The melody comes
back from the depth of hell as a contra solo. Now it's not a happy melody anymore but
symbolizes a life in fear and misery. The effect is stunning.
Here, it was great to have the rich bottom register of the PC. The solo is very soft and
starts from one of the lowest notes, I can't remember which one but I had no problem to
produce a broad, soft and rich tone color that was required for that section of the piece. It's
a fantastic symphony and I wish I get to play it again one day.
I didn't know about the Buffet contra with the pierced left index pad. It sounds very
interesting and I welcome it dearly. I'm going to Paris in the fall to try bass clarinets. I will
ask for it. I promise to give you my opinion on it if you haven't come across it already by
then. Promise to do the same if you get there first.
Alphie
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Author: Willie
Date: 2000-05-13 04:15
Sorry to eavesdrop hear, but this a learning experience for me from two far more experienced contra players. Ken, you stated you liked the clarion on the LeBlanc better than the Selmer? Does this apply to the straight C-A LeBlanc also? Mine sounds very tinny there both with the bari reed and contra reed MP. Is there anything I can check to possibly improve on it?
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Author: Ken Shaw
Date: 2000-05-15 18:42
Willie wrote:
--------------------
Ken, you stated you liked the clarion on the LeBlanc better than the Selmer? Does this apply to the straight C-A LeBlanc also? Mine sounds very tinny there both with the bari reed and contra reed MP. Is there anything I can check to possibly improve on it?
Willie -
I have played both the straight and the paperclip Leblanc BBb contrabass instruments, and the response and tone are nearly identical. However, Leblanc changed the mouthpiece design several years ago and began using the somewhat smaller mouthpiece that the put on their Eb contra-altos. The new mouthpiece takes baritone sax reeds, and the old one takes bass sax reeds, or Vandoren contrabass reeds. The new mouthpiece is not large enough to give a good tone in the low register, particularly on the extended notes of the paperclip model. I was fortunate to find an old model in good condition, but you should always check.
I have played a few of the Leblanc Eb contra-altos and found them to have the same character as the BBb instruments, or perhaps a bit lighter in sound. Once again, the tone deteriorates on the bottom notes of the paperclip model, though it avoids the pitchless slapping sound you get with the small mouthpiece on the BBb bottom notes.
As to the clarion register of the Leblanc C-A, I don't remember it sounding tinny. I think it's a matter of reed adjustment (along with taking in more mouthpiece and using plenty of air). The next strength heavier reed may help. If the sound gets thick, thin down the tip a bit. Also, I play double lip full time on all instruments, and I think it improves response even more on the low pitch ones than the higher ones.
As Alphie says, the Selmer Eb C-A has a less broad, more focused sound and very quick response. On the other hand, when I played a Leblanc paperclip BBb full time in the West Point Band (many years ago), I did not find the slower response limited my playing of what was put before me. It was just that I was conscious of a tone with more weight and momentum. My "intimidate your neighbor" warmup licks were 5% slower, and I wouldn't want to play the Nielsen on it. The warmer sound of the Leblanc more than made up for the faster response of the Selmer.
Power to the contras.
Ken Shaw
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