 The Clarinet BBoard
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Author: JBOverture
Date: 2011-06-16 13:24
Hello,
I am currently in the market for an 'upgrade' in clarinets. Intending to purchase a pair, going to test out these instruments is proving to be a tough gig.
The question here is what qualities to look for in a new clarinet, and, that said, what is changable on clarinets, or, what can be 'fixed'?
Case in point:
My choices stand at Buffet RC Pres., Festival or YCL-CSGH. I have found the tone to be richer and have more character on the Buffets, yet, the Yamahas response is very quick and easy. However, the csg tone seems a little 'trapped' inside the choob.
BUT...
Are these characteristics that can be changed? Namely Response.
Do you go for tone or ease of playing.
As an aside, I have been testing intonation with all of these, and have found that they are similar, with the CSG's being closer to the mark. But small changes in tuning can be achieved with all models I have tried.
Also, when purchasing, what consderation is given to the 'set up'. What can you do to 'set up' instruments. Does this include things like alternative pad materials, key height regulation or other attributes?
I understand there is much to contemplate here, but please share your opinions of one or more of these questions.
Thank you kindly,
JBOverure
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Author: Joanna
Date: 2011-06-16 14:49
Personally, I would go for tone over the ease of playing. Obviously, that comes to play, but when you buy a new clarinet, there should be a little resistance. This resistance goes away within a year, at the point where the wood has been "broken in". I know this sounds weird, but it's what my teacher and what Daniel Bonade suggests in his "Clarinetist's Compedium". In my experience, the initial resistance goes away after playing the horn for a while, so you don't want a horn that is "easy to play" initially.
Tone is more important, I think, as well as intonation. Check the tuning with a tuner, so make sure everything is in place.
In terms of "set-up", maybe you can try out mouthpieces? If you have a good horn, nothing really should be changed on the actual horn, unless, of course, there are issues with the sealing and whatnot.
Hope that answers some of your questions!
Happy shopping!
Joanna
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Author: Paul Miller
Date: 2011-06-16 17:50
What Ken said.
A horn that has outstanding color, great flexibility in the registers, easy articulation, no "popping" notes, and bad intonation.... is not a good instrument. As soon as you start making large adjustments to fix the pitch, all the good aspects of the instrument go right out the window. Pitch first, then other.
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Author: Bassie
Date: 2011-06-16 19:39
> what qualities to look for in a new clarinet
You have to really like it.
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Author: William
Date: 2011-06-16 21:40
I must disagree with Ken on intonation being "more important" than anything else. I once took a trip to the Elkhart Selmer facility and picked a series 9* Selmer clarinet from over a hundred that absolutely stopped every wheel on their tuning device from low E up to high F. When I got it home and played it for my college professor and a graduate teaching assistant, they both told me what I could not hear in the factory--the clarinets scale was quite uneven in tambre. Further playing in ensembles made their evaluations much more evident. It played wonderfully in tune, but due to the ragged scale, it was impossible to play musically. And, it did not project. I tried to learn to play it for three more years until I was promoted to the college wind ensemble's solo clarinet position--and bought my Buffet R13.
What would I look for?? For me, the most important characteristic is how flexabile it plays dynamics, how focused the tambre is maintained in all registers from loud to soft and just basically, how musically it plays. I'm less concerned about intonation--that can be adjusted or lipped as needed. And I am less concerned with basic sound--as their is no "perfect" sound anyhow. Of course, you must play in tune, but more importantly, you must be musical and your clarinet must be heard during solo passages. So.....dynamic flexability with focused tambre, presence within the ensemble (you must be able to blend as well as be heard when playing the lead), intonation and last, basic tone quality. That will change anyhow as you learn to play your clarinet and change setups like we all do.
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Author: Paul Aviles
Date: 2011-06-16 22:57
To address the pads, pad heights question.......
You kinda have to be able to imagine what the horn will be like regulated to your tastes. All sorts of changes like this CAN be made (with varying degrees of change) but the base line you need for a decision is much of what has been already covered above.
Along THOSE lines, I chose what is FUN to play FIRST, then move to intonation. If the intonation is not good, go back to the drawing board and so forth.
And by intonation it is more the internal relationship from note to note within the horn NOT so much if you get an A=440 upon putting it in your mouth. If the 12ths are too wide, you may never overcome this gap and only frustrate yourself........even if the TONE is magnificent. I understand everyone has their priorities, and that's where YOUR sensibilities as a performer come in.
......................Paul Aviles
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Author: MarlboroughMan
Date: 2011-06-17 00:04
Sacrifice nothing; demand everything.
An artist needs an instrument that is in tune, projects, has a stunningly beautiful tone, flexibility, power, etc.
Don't stop until you get it!
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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