 The Clarinet BBoard
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Author: jreddmann
Date: 2010-10-29 00:56
Heyy,
I am a college student majoring in music and I have the opportunity to play and possibly purchase a Leblanc LL, L7 or a CT which is a modified boehm. Opinions please.
Thank You,
Jessica
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Author: richard1952
Date: 2010-10-29 02:00
I own and play two Leblanc LL clarinets and find them to be excellent instruments.
richardseaman@cox.net
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Author: Ed Lowry
Date: 2010-10-29 04:23
I have an L7 which I bought new in high school (1968). It's a great instrument with a very nice sound and good tuning, although it's my backup now.
Check Sherman Friedland's column -- he's had a lot to say about Leblancs.
Play all of them with someone you trust who can also comment on the sound. Add to that how the keys look (plating not flaking, etc.) and feel - is the bore shiny, are there any cracks, etc. Most important is how they play for you.
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Author: Ed Lowry
Date: 2010-10-29 04:36
Re-reading my post (after it was posted) leads me to think it is too simplistic. The one simple thought which I still believe is correct is this: Try all of them, and stick with the one that plays best for you, assuming the instrument is mechanically sound. Additionally, rely on your teacher or trusted musical friend to help you. As to how to determine what's best, do a search of the posts on this bulletin board. There's lots of advice by excellent clarinetists as to some procedures you might go through to see what is best for you.
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Author: Jack Kissinger
Date: 2010-10-29 13:00
"Music major" covers a pretty wide territory so it's really hard to make a recommendation without knowing more about you, how and how much you plan to play clarinet and your reason for considering these. However, if I were a college student majoring in music and I was looking for a front-line instrument that I planned to play a lot, I probably wouldn't go near any of these. (Well, I might consider the Centered Tone for jazz or pit work if it is in pristine condition and tunes fairly well.)
All of them were professional instruments when they were new. Any of them might be fine for an amateur playing in community music ensembles or a doubler whose first instrument isn't clarinet but they are all old-to-very-old technology. While you can only tell by trying, the L7 will probably have the best intonation and might be an adequate back-up instrument but you may find its tone, for lack of a better word, dull. (It was Leblanc's top-of -the-line when it was new.) The Centered Tone will probably have the biggest sound if you have a mouthpiece that will work with its larger bore but it may have intonation issues. It's best use is probably swing and jazz. If: (1) it has a low Eb, (2) you expect to play classical music occasionally or in a community group, (3) you don't plan to buy an A, and (4) you can transpose, it might be useful.
All of these instruments are old enough to have developed serious problems over the years. At this point they may or may not be able to "hold" an overhaul. In average condition, I wouldn't pay much more than $350 for either of the Leblancs. The Centered Tone might be worth more as a collector' item.
What does your teacher say?
Best regards,
jnk
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Author: William
Date: 2010-10-29 14:22
OK--I'll say "it". I would forget the Leblancs and the Selmer CT in favor of an R13 Buffet, vintage or new. The Leblanc & Selmer sound is very nice for small ensemble and jazz, however in the larger orchestral type groups, the tambre of the Buffet line of clarinets is what will deliver in terms of projection and dynamic flexability. And if your "music major" is one of performance orientation, Buffet is the clarinet of choice for most of the worlds leading clarinetists. BTW, you can also use your Buffet for small ensemble and jazz--very versitle instruments.
FWIW, if I were buying a new set of Buffets, I would definately consider the RC Prestige line with the auxillery Eb lever. I have one on my Buffet Prestige bass clarinet and find it quite useful.
Also, I kind of disagree with Jack K regarding older clarinets not holding repairs that well. Mine are from the 1960's, get a lot of use and hardly ever go out of adjustment. And if something does occur, my favorite Ward Brodt repairperson, Mary Jones, makes it good as new every time. I'm also not a fan of the "blown out" or "swabbed to death" clarinet theory. I think the player changes more than the instrument. OK--more than you asked for, but just wanted to offer my opinion (which others, no doubt will question). Read us all, try as many clarinets as you can, rely on friends listening to your trials and pick the best one "for you" (not necessarily all of "us"). Cheers and good luck.
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Author: jreddmann
Date: 2010-10-30 02:06
Thank you all so much for your opinions it is greatly appreciated. As far as a "Music Major" I am a Music Therapy Major but I have played clarinet religiously for the past ten years (at least 1-2 hours a day). I currently play a Noblet D and a Adler full boehm clarinet and I'm looking for a top of the line clarinet now that I am in a more professional setting.
My next question is if I were to purchase either the Leblanc L7 or the Selmer CT which mouthpieces would be recommended?
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Author: pewd
Date: 2010-10-30 03:45
did you ask your clarinet professor?
- Paul Dods
Dallas, Texas
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Author: jreddmann
Date: 2010-10-30 04:25
No, actually I have not and I'll will not be able to see her until Thursday but I am taking them to my lesson with me so she could put her opinion down as well.
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Author: William
Date: 2010-10-30 16:03
FWI--there is a jazz musician living in our town who has a master's degree in music therapy major and has not been able to find a job, anywhere. He did a one year after school program at my old middle school--funded by our recreation department--for kids with special needs and, in my humble opinion, worked wonders through a variety of rhythmic and melodic activities. The kids loved him and were able to learn coping skills that helped them in their regular acedemic classes. However, funding ran out (as usual, the kids lose) and he is still--12 yrs later--not working in music therapy. He tried establishing a "Center of the Performing Arts" in a downtown vacant warehouse, but last year that too closed due to lack of public support. He is a talented teacher--however, as foar as I know, not certified for public schools--and jazz musician (tenor sax, flute), but even with a master's degree, has been unable to find work in music therapy.
My recommendation, plan ahead and make yourself as "marketable" as possible. Along with music therapy, consider (at least) music education. Just my "unasked for" advice--like with the Buffets, take it or leave it. Cheers and good luck.
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