Author: ClarinetRobt
Date: 2018-01-10 20:26
The can of worms has been opened up...everyone has their own take on this. I'd think, for me, dark and covered, are usually synonymous in terms of clarinet tone. Dark implying a sound lacking upper overtones.
A dark clarinet sound sounds glorious up close. No edge, warm, you could melt butter. The Achilles heel is the sound will not project well in a large concert hall situation. They are usually hard to cut across a large ensemble too. Usually heard in more chamber situations vs jazz.
So the 'new' thing is to achieve a 'warm' sound (I realize these adjectives are subjective and might not mean the same thing to you as they do to me), but with some 'ping' to the sound. Ping implying adding some of the upper harmonics to the quality. The idea is you get better projection and more lively sound. Again for me, this is how I'd describe the American sound these days. A lot of clarinet players are slowly moving away from dark, dead tones and towards something with a little more oomph.
So this (glacial) shift from ubber dark is definitely a trend, but still shy away from full on French-brightness (which I'm sure even the French have warmer sounds now). I'd think in a jazz situation you'd want something with a little bit more zing/zip than a typical German,dark sound.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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