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Re: Could you help to identify my clarinet

Author: Chris P
Date: 2017-04-30 15:37

From the '50s onwards there were really only two different B&H clarinets - all the models apart from the large bore 1010 had the same bore and tonehole layout. The only significant difference between them was the body material, the keywork plating and the style of the socket rings.

There were some keywork and fittings changes in the early '60s that continued right through to the end of production in the mid '80s where the two separate trill key guides were replaced with a single one to cradle both trill keys, the throat G# key adjusting screw pip was mounted on the north side of the cup arm, the side and trill key spring recesses were ditched in favour of flat bottomed trill/side keys, the C#/G# touchpiece was lengthened, the linkage between the joints was reversed, the LH F/C touchpiece was knurled, the inside edges of the ring keys were rounded off, the RH E/B and F#/C# key linkages were reshaped, the speaker tube eventually became threaded and had two notches to remove/refit it, the Ab/Eb stopper was changed from being mounted in the double-headed pillar to a metal post that was a push fit into the lower joint that also doubled as a pillar lock, ...

The worst thing B&H did was using phosphor bronze needle (or round) springs as when they break, they usually break flush with the pillar. They later used stainless steel needle springs on their lower order clarinets.

As for the bells, there were three different styles - the standard model in wood and ebonite was a ringless bell with a decorative beading recessed into the lip. The plastic bells had a much sharper lip with beading around it and some wooden bells were made in this style too, but not all that common. Then there were bells with metal rings that were on export and on some stencil models. A much plainer version of the ringless bell was used on the lateer Rudall Carte stencils.

Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.

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