 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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Author: m1964
Date: 2026-07-06 20:49
Would it be better to bend up the lever that needs to be raised?
I realize that such “surgery” can require a trip to a shop but in a long run it is a better solution, IMO
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Author: Chris P
Date: 2026-07-06 21:49
Not always easy with the throat G# key as that can potentially bend the cup arm and open up the arch so the pad cup no longer lines up with the tonehole, or the cup arm can break off where it's soldered to the key barrel if there's a dry solder joint.
Things like sliver keys can easily be bent upwards as can the throat A touch. Side and trill key touches can always be bent to alter their heights and angles as well as all the LH levers. The LH F/C touches on both the V series A/Bb set of Series 9* clarinets I've got that once belonged to Gino Cioffi were bent/angled upwards from where they were soldered to the key rod to raise the height of the touchpiece, but I straightened them back when I overhauled them.
Other keys have some degree of bendability, but not much to raise their heights, but can still be angled to make them easier to reach without having to stretch - I've angled all the RH pinky keys on a Yamaha 250 clarinet to reduce the stretch as the owner had trouble reaching the RH E/B touchpiece, copying older Selmers which have them all angled so the F#/C# touch is almost touching the lower RH ring keys pillar.
Cork or other material semi-permanent key risers mean the keywork isn't altered and can easily be reverted back to how it was by removing them and cleaning up any glue residue from the surfaces, but bending keywork is more risky as it can break solder joints or work harden keys if it's done several times, or cause key barrels to become twisted and cause rod screws to bind up which will in turn need to be reamed back to the correct size.
If it's only bending a couple or so degrees, then bending is indeed the easiest thing to do and thicker key corks or felts can be fitted to keep the ventings as they were. Anything even more involved where key risers aren't enough will require surgery where the key is cut'n'shut with an extra piece of metal hard soldered in the gap to extend the key or raise the touchpiece.
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: SecondTry
Date: 2026-07-06 22:15
David H. Kinder wrote:
> 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
>
Actually, that cover, exists to conform with the SOLAS (safety of life at sea) convention for "international orange," as found on lifeboats, in case Tom encounters maritime issues when his ensemble performs in his dinghy.
It's the same color, by design, on the Golden Gate Bridge, so as to maximize its maritime visible to ships, reduced by fog common in the area.
Speaking of bridges, I'm selling one in Brooklyn, NY. 
(Only the middle paragraph is factual...)
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Author: David H. Kinder
Date: 2026-07-07 00:00
SecondTry wrote:
> David H. Kinder wrote:
>
> > 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
> >
>
> Actually, that cover, exists to conform with the SOLAS (safety
> of life at sea) convention for "international orange," as found
> on lifeboats, in case Tom encounters maritime issues when his
> ensemble performs in his dinghy.
>
> It's the same color, by design, on the Golden Gate Bridge, so
> as to maximize its maritime visible to ships, reduced by fog
> common in the area.
>
> Speaking of bridges, I'm selling one in Brooklyn, NY.
>
> (Only the middle paragraph is factual...)
🤣🤣🤣
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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