 The Clarinet BBoard
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Author: Chris P
Date: 2026-07-05 01:39
I can't as I've not done it, but it's not difficult to picture it as it's just a piece of sheet cork glued to the top side Ab touchpiece to bulk it out and then sculpted by carefully trimming or sanding to take any hard edges off it (without scratching the underlying plating).
The thickness can be adjusted by both using the correct thickness cork from 0.5mm to 1.6mm cork as that's fairly supple, or then laminated should it need to be made thicker.
Suguru (epoxy putty) can also be used to build up the height of the touchpiece and won't harm the plating, or you can use isopon which is a two part car body filler.
I've seen cork touchpiece extensions used on other keys where bending them to the required height may not always be possible or creates other problems while solving the main one.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
Post Edited (2026-07-05 09:03)
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Author: SecondTry
Date: 2026-07-05 02:49
Apologies. I don't know if I'm being pedantic or am just confused.
I say this because while I can certainly appreciate the cork cushioning that lies between the clarinet and the throat Ab key's underneath side, I'm curious about such cushioning that lies between the top of this key and one's left pointer finger that seems to be described here.
Post Edited (2026-07-05 02:54)
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Author: David H. Kinder
Date: 2026-07-05 08:29
I don't think it's cork but some other kind of key cover that Tom Ridenour has on his Ab/G# key in this video at the 1 minute mark:
https://www.youtube.com/watch?v=dzypxWauEWI
Ridenour AureA Bb clarinet
Ridenour Artist MT36 mouthpiece
Vandoren Optimum black ligature (plate 1)
Vandoren Traditional #3.5 reeds
Brad Behn HR adjustable barrel
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Author: Chris P
Date: 2026-07-05 09:07
Think of it like Runyon or Oleg sax palm key risers which make it easier to use the palm D and Eb keys on saxes (usually for players who've gone from Yamaha saxes to older Selmers), but on a clarinet's throat G# key.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
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Author: clarnibass
Date: 2026-07-05 09:57
Do you mean cork over the touchpiece to raise/change the position of the key to make it more comfortable for you? In that case, I don't particularly like cork because of its texture (though you can lacquer or epoxy it).
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Author: Chris P
Date: 2026-07-05 13:43
Definitely best to lacquer over it afterwards both for a better feel and to stop the cork crumbling and looking skanky over time.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
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Author: donald
Date: 2026-07-05 16:11
My wife (Marie Ross) still plays a Buffet clarinet from the 1990s that has had cork glued on the left hand E/B key. That was a "thing" to do for students at Interlochen/Eastman in the 90s/early 2000s, I don't know how many pro players did it or if many players still do, but I recall seeing it on one or two other horns over the years. I've once seen this on the Ab throat key.
While I never did a survey or asked about it much, I always imagined it was to give that key a different texture, similar to the Boosey left hand F/C key having a cross hatch.
I've never felt any great need to do it myself, but my wife's clarinet has lasted the last 30 years well and I'd take it off her if she'd let me... the cork on that key hasn't bothered me any of the times I've played it, and there's no problem with the finish.
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Author: Chris P
Date: 2026-07-05 20:08
Attachment: p9013.jpg (80k)
If that was done to Buffets, chances are it was done to give more height to the LH E/B lever so the F#/C# lever doesn't get accidentally caught as the LH evers on Buffets are pretty much set level with each other unlike Selmers where the F#/C# touchpiece is much lower and less likely to get caught.
Although it's not a difficult thing to (carefully) bend up the LH E/B lever to get more clearance between the touchpieces, but not as easy to lower the LH F#/C# touch without the risk of it clattering against the LH F/C touch.
I sold this old Selmer CT a fair while back (see attachment) and the buyer brought it back in to me to make it feel more Buffet like with level LH lever touchpieces as he wanted to be able to slide his LH pinky from one touchpiece to the other. Last I heard he'd sold it to someone over in Israel, so it'll be interesting to know if it's still with that buyer or has since been sold onto someone else.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
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