 The Clarinet BBoard
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Author: Aussie Nick
Date: 2007-06-12 05:23
Generally speaking, how important is it to most people to have matching clarinets? By this I mean both Bb and A the same make and model. Is it such a big deal if one were to have a Festival Bb and an Prestige A?
Secondly - my teacher has mentioned twice now that he thinks the C (2 lines above the staff) on my A clarinet is too flat both when he plays it and play it. What is the best way to help correct this? Would I look into having the register vent tube shortened a fraction? or would I go with one of the tone holes?
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Author: C2thew
Date: 2007-06-12 05:33
when it is in regards to the same brand, it's probably not that important. the only time it is noticiable is when the audience is picking the sound apart, which is really difficult to do. if your talking about a major difference between a yamaha A and a buffet Bb, then yes there is a difference. (obviously)
Our inventions are wont to be pretty toys, which distract our attention from serious things. they are but improved means to an unimproved end, an end which was already but too easy to arrive as railroads lead to Boston to New York
-Walden; Henry Thoreau
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Author: skygardener
Date: 2007-06-12 07:51
for me 2 different brands makes switching a bit difficult due to the key placement.
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Author: Chris P
Date: 2007-06-12 10:48
"Secondly - my teacher has mentioned twice now that he thinks the C (2 lines above the staff) on my A clarinet is too flat both when he plays it and play it. What is the best way to help correct this? Would I look into having the register vent tube shortened a fraction? or would I go with one of the tone holes?"
If the throat F is also (slightly) flat you could have the LH1 chimney tonehole enlarged, or the tonehole undercut - but leave it to someone that knows what they're doing.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Connor
Date: 2007-06-12 13:19
Adding the Ab/Eb key will raise the pitch of the high C. Another option is to add side Bb with the L/ hand 3rd finger down.
t XXX XXXEb
t XX3 XXX
Bb
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Author: ZCClarinet
Date: 2007-06-12 15:25
I would say matching pairs is not important at all, and perhaps may be counterproductive. I usually see the call for a specific clarinet by the composer as a call for a specific timbre (though sometimes it feels like the composer just wants me to jump through hoops to be able to play their piece, but anyway!). When getting a specific clarinet, you want to produce your best sound for that particular instrument - that specific timbre. Matching clarinets limits you to only that brand/model of clarinet, when perhaps you are able to produce a sound more to your liking on a different brand/model.
In short: What you're putting into the clarinet and what is coming out of it is more important than what brand/model the clarinet actually is.
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Author: sfalexi
Date: 2007-06-12 16:24
yes, the music you produce is the most important part of what A you get and what Bb you get, however there are pieces of music where you need to switch back and forth between them during the piece. Or maybe times where you need to switch between pieces. And in that respect, I think it's best to match characteristics of clarinets. For example, you don't want to go from a nice playing freeblowing Bb to a VERY resistant, but still beautiful A clarinet. It might throw you off when switching.
US Army Japan Band
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Author: D Dow
Date: 2007-06-12 18:01
I think having a matched set of clarinets is of primary importance for serious orchestral work and recording. Not only does one want to derive the same tonal color from your A counterpart but you also want your A clarinet to play with similiar tuning and response to your Bb clarinet..this makes a greater difference to you the player..not the audience so much.
If your A and Bb differ in tuning greatly then you are always having to compensate etc...after a period of time this can become very frustating.
David Dow
Post Edited (2007-06-12 18:02)
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