 The Clarinet BBoard
|
Author: RLarm
Date: 2017-07-24 23:34
I've always wondered why there can be a tremendous in playing feel between a Bb and A clarinet. On some instruments, especially certain Buffets it is EXTREMELY different. And then on all Yamahas I have ever played and on my Ripa the difference is much less. I have been told by several old-timers that the old Buffets felt almost identical and the same goes for Oehler system Wurlitzers. Is it an acoustical reason? Any answers or theories? And if there is an actual solution, why aren't the manufacturers implementing this change into their A's???
|
|
Reply To Message
|
|
Author: Caroline Smale
Date: 2017-07-25 00:32
Its the perenial question in clarinet design of compromise.
Every aspect of the instrument e.g. tone, intonation, response, player feel, etc is a compromise.
So manufacturers have to choose where to make these.
Yes my Leblanc LLs have a very similar feel between Bb and A.
But Buffet have often chosen the path to try and optimise the tone and tuning on each individual A and Bb clarinet, witness the use of different barrels on the Bb and A.
So as a result the feel between the Bb and A tends to differ more than on other makes.
You pays your money and makes your own personal choice.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2017-07-25 00:56
If you have a set of Selmer Recitals in pieces, you'll notice (especially on the lower joint) that the A has smaller toneholes in places compared to the Bb.
Some Yamaha A clarinets have narrower bores compared to their Bb counterparts.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Wes
Date: 2017-07-25 03:15
My 1998 R13 A and my 2005 R13 Bb feel a lot alike.
|
|
Reply To Message
|
|
Author: Barry Vincent
Date: 2017-07-25 04:50
I have an Armati Klaslice A Clarinet (ACL 675) which is noticeably easier to play in the high range than my Armati Bb and it doesn't seem to need the RH Eb key opened either from D upwards. Both are full Boehms.
Skyfacer
|
|
Reply To Message
|
|
Author: Philip Caron
Date: 2017-07-25 06:10
The spacing between holes and hardware is slightly wider on the A instruments. I alternate practice between Bb and A mainly for this reason; if I neglect either one for, say, a week, then it take an annoying period of time for my fingers to reacclimate.
There's some key placement differences between the two, but maybe that's specific these instruments or to Buffet, and not really what the question asked. The thumb rest is also positioned differently on the two.
Some preferred resonance fingerings differ between my two instruments, but that may be common to any two instruments, not just my two Buffets. (?)
Similarly, some altissimo fingerings work different between the two instruments, but again maybe they'll tend to differ on any two.
The overall sound is certainly different, though as I've progressed the differences seem fewer. The Bb tends to sound a little brighter than the A.
|
|
Reply To Message
|
|
Author: RLarm
Date: 2017-07-25 13:30
One year I had a student who I let her borrow my Yamaha YCL72 A to do the Mozart Quintet. Unfortunately, on the day of the performance she accidentally damaged my horn. A friend, who happened to be the judge let her borrow his Buffet R13A. Compared to the Yamaha, her sudden switch to the Buffet caused her to sound spread and plain honky. Again why would two well known old-timers say that the older Buffets were very similar in feel? (Herb Blayman and Ben Armato) Does it have anything to do with the changes that Robert Caree incorporated into the R13s?
|
|
Reply To Message
|
|
Author: WhitePlainsDave
Date: 2017-07-25 16:03
There's been talk on the bboard I recall
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=352634&t=352554
about the use of a string down the center of the clarinet bore to make a Bb clarinet sound like an "A" clarinet.
I suspect the dimensions of this setup to not only be highly specific to a particular clarinet--perhaps not even the same among clarinets produced by a manufacturer in serial number series--but something tells me, highly imperfect in its adjustment to pitch, exactly 1 half step down, equally, for all notes.
While I get that this effect is a product of effectively reducing the diameter of the bore, the exact acoustical explanations are something others on this bboard have likely "forgotten more about than I know."
If nothing else, poly-cylindrical bores would make such designs interesting.
Nevertheless, a product that doesn't meet needs has never stop the woodwind accessories industry from producing it. And along these lines I have an idea, adapted from an old child's toy that might even predate me.
http://tinyurl.com/yalt9cdy
Tinker toys were known for their "hub and spoke" like design. I envision converting the hub into highly compressible and air flowing foam, like the equally flawed, IMHO, clarinet mute of days past.
http://tinyurl.com/yb4ytmsx
Two of them, connected to a pipe of the right diameter....who knows? ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
