 The Clarinet BBoard
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Author: Rusty
Date: 2009-05-15 07:14
Now the purists may not agree with this but I`ve found that in going from a C# to the B key above it, both of which are in the same plane, with the little left finger that it is necessary to crook the finger a little to ensure that no portion of the finger contacts the C# key. If it does then of course you get nothing. It is this crooking or bending of the little finger that tends to move the adjacent 3rd finger from its hole unless you are particularly carefull. I presume this is more of a problem as you get older, as in my case, and your fingers are not as supple.
Anyway my solution was to attach about 3mm of packing to the top of the tab of the B key. This allowed me to close the tab without needing to bend my little finger and also ensured no contact with the C# key.
I`ve found the result a big help and has speeded up my playing.
I`ll look to having the arm of the B key raised at a later date as this is just a trial at the moment.
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Author: buedsma
Date: 2009-05-15 07:28
I never had the problem on my best clarinets , but it is indeed a small problem that i hate. When you have to take care of not touching the C# when playing the B on the left side , you really have to change the way you hold the clarinet. Completely unacceptable when playing , and certainly when imrpovising because there you already have less control left for adapting hand positions )
I noticed this problem on clarinets and bassclarinets of different makes . Maybe it is a bit of " getting used to " , but never had that kind of problem on my Leblancs ( Bb and Bass - or Selmer ( Bb ).
Maybe it is just a question of preference, but i will also go to the shop with my ridenour Lyrique for bending some keys . It just doesn't match my normal playing position
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Author: Rusty
Date: 2009-05-15 08:54
Could it be that on the Leblancs and Selmers that you have the C# and B keys are not in the same plane but the B key is already a fraction higher?
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Author: connie
Date: 2009-05-15 13:08
Funny, I have had that problem with my Leblanc Legacy, and didn't have it on the Buffet R-13. I have had the keys adjusted slightly by my repair guy, and it's better, but I still have trouble hitting the G# key withouth getting the other left hand fingers out of position. I thought I just needed to practice those movements more, but maybe I should look at the G# position also.
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Author: Ken Shaw ★2017
Date: 2009-05-15 14:23
Anatomy is destiny.
No two people have hands that are exactly alike, and everyone should adjust the keys to their fingers. I've always been most comfortable with the left F#/C# little finger key a couple of millimeters higher than the E/B key, so all my instruments are adjusted that way, but that's just me and what I'm used to.
Reginald Kell bent the end of his left E/B key to point almost straight up, because that worked for him. It would probably drive everyone else crazy.
Whatever works.
Ken Shaw
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Author: oliver sudden
Date: 2009-05-15 14:25
I play Festivals and my left e/b' key is indeed somewhat higher than my left f#/c#'' key - the latter is also rather shorter, reducing the risk of contact still further.
But in making it shorter they've also left not so much room to move between the f#/c#'' and the left hand g#/d#''. That was quite annoying at first (when changing from an R13).
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Author: concertmaster3
Date: 2009-05-17 18:52
One of my really good friends has 3 Buffet E-11s (Bb, A and Eb) that have had their Left pinky keys all adjusted to her short fingers, allowing her to use them at ease (Think...Eb Clarinet on Daphnis and Chloe Suite 2...). Almost to the point where I bothers me when I play them because of my longer fingers. It's not uncommon to do. I've adjusted my oboe keys to me some. I say, if it makes you play easier and it still sounds good, use it!
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Author: Rusty
Date: 2009-05-18 04:23
Interesrting this that in my 3yrs. of playing no one, teachers included, have ever mentioned key height adjustment for more comfortable playing. Neither have I seen it on the Forum before.
I have a major problem with my Rt. pinky in that the mid joint wont straighten at all (an Oympic fencing souvenir). I have just bought a new Yamaha CSG (what a bank breaker) and the suppliers have extended the two top tabs, C and D# by 5mm. They have been resilvered and you cannot see the join. An incredible job. Cost another A$250 tho`
I presume this is similar to what was done for your friend Concertmaster.
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Author: Chris P
Date: 2009-05-18 14:08
Most keys can be bent around to suit a players hands (and you don't need to heat keys up to bend them - they will bend easily enough while cold), as well as building up key touches temporarily by either glueing on pieces of cork or building up with isopon.
More permanent alterations can be made by soft soldering metal pieces onto the existing keywork which can also be removed relatively easily (though the finish may be discoloured or damaged depending on who did the work, but can usually be cleaned up if they've done a good job) and even more permanent conversions by cutting through and extending key touches by silver soldering pieces of metal into where the cuts have been made, then filing it all smooth, polishing up and plating to match the rest of the keywork.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ken Shaw ★2017
Date: 2009-05-18 15:53
The "jump key" Leblanc models have the trill keys mounted more toward the top of the instrument, at about 2:00 if you look down from the mouthpiece, rather than the 2:30 position on Buffet and Selmer. For people with long fingers and wide palms (such as me), the Leblanc design is much better.
In particular, on my Buffets, I have to twist my right index finger to reach the side Eb/Bb key, while the Leblanc design is easy to reach. Thus I've had the keys on my main R-13 Bb and A extended about 3/16" and angled to fall in the "Leblanc position."
For more, see http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=206687&t=206562.
Ken Shaw
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Author: Don Berger
Date: 2009-05-18 18:03
For your contributions. My "small hands" problem is in reaching the {Great} L L F Alt. Ab/Eb lever on my basses, a piece of plastic tubing is too thick, so will welcome other ideas. Yes, Ken, I'm also surprised that other makers have not adopted Leon's "pioneer" idea given in US1,926,489 [long expired], as IMHO they gave impetus to Leblanc's rise-to-fame in the mid 1900's. Noon thots, Don
Thanx, Mark, Don
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Author: Ken Shaw ★2017
Date: 2009-05-18 20:29
Don -
The late Jimmy Yan used to glue pieces of cork to the tops of bass keys and shape them to fit your fingers. So does Charles Bay. If your problem is that the keys lie too low, or need a short extension, that would be a simple and inexpensive fix.
If the keys are too short and need a significant extension, there are a number of bass clarinet techs -- Mark Jacobi in Philadelphia and Kristin Bertrand and Perry Ritter in NYC -- who do that kind of work, though it's not cheap, and you should go to the workshop so that the extensions can be designed to fit your hands. Morrie Backun might be willing to do it, too.
You should also consider going to a physical therapist who specializes in wind instrument players to find whether a change in hand position can solve the problem, or at least give you a head start on what key alterations you need.
If you have the big bucks and plenty of time, get a custom-made bass from Steve Fox, who makes his keys and can adjust them to fit your hands. Again, this would require a trip (or several) to his workshop in Canada.
Ken Shaw
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