 The Clarinet BBoard
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Author: Cindy
Date: 2002-02-02 20:27
I am looking around for a new clarinet and I have seen some with 18 keys, like the Buffet RC prestige. What are these extra keys? Are they helpful to have? I would also like to see a detailed picture of one, but can't find one. And, how useful is the alternate Eb key that is on some new clarinets?
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Author: SWTClarinet
Date: 2002-02-02 21:13
The 18th key is an alternate G#/D# key (like the top left corner key on the right hand. Some people love this type of model, others think it almost gets in the way. Still if you'd like to see a picture of one, try going to the Boosey-Hawkes website and taking a look. I'm thinking of purchasing a set of Buffet's Vintage clarinets personally.
Best Wishes
JGarza
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Author: Al
Date: 2002-02-02 21:14
The Ab-Eb key is very useful. Just imagine how many beginners would just accept it for what it was and never have which pinky to use.
For the articulated G# you surrender the high covered F.
The low Eb is rarely used;only when an "A" partis being transposed and only if there happens to be one.
The 3rd ring is really not necessary but does little harm.
Just for argument's sake, which key would you sacrifice on the present R-13 standard Boehm if you had to make that decision?
I'd be happy to tell you my choice if you wish.
Best, Al.
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Author: David Pegel
Date: 2002-02-02 21:24
Going by the key I use the LEAST and is the hardest to use regularly, I'd sacrifice the (believe it or not) throat F# side key (the one b/w alt. Bb and alt. Eb) but going by the key that would be easiest to compensate for, it would be the third finger LH Eb/Ab key.
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Author: Robert Small
Date: 2002-02-02 21:28
I consider the left hand Eb/Ab key a useful feature. The forked Bb/Eb can be useful for certain trills and arpeggios. And the articulated G#/C# can make certain scales easier to play such as A major where you can keep the G# down while you run the scale.
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Author: Wes
Date: 2002-02-03 07:21
The forked Bb/Eb is, to me, not something I'd want as it is a pain to adjust it properly, the bare hole feels better to me, and the function is covered by other fingerings for my needs. Good luck!
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Author: Don Berger
Date: 2002-02-03 14:47
We have frequently discussed the four additions to the "standard" Boehm clar of 17 keys/ 6 rings to make the 20/7 Full Boehm inst., usually under the title of F. B. , so search the Phorum for comprehensive description/utility opinions. Most cls I have seen [with "extras"] have at least 2, 3 or all 4, like LeBlanc's Pete Fountain [etc] insts with the "fork Eb/Bb" and the "articulated C#/G#". Some, Buffets etc, may have only the "Ab/Eb Lever", very useful IMHO, so one doesn't have to "plan ahead" the cross-fingering of the little finger keys for the bottom chalemeau and mid-staff clarion notes. Yes, the Low Eb [also a good mid-staff Bb] is mainly useful for transposing A parts. My first good cl was a FB Penzel Mueller and I used it for some G & S trans. and the bottom note for "Stardust" solos [in piano 5 flats] . 'Nuff said? Don
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Author: Robert Small
Date: 2002-02-03 18:02
One criticism of the extra keywork that I often hear is "they go out of adjustment easily". I have not experienced this problem on my instrument (Leblanc LL with articulated G#/C#, forked Bb/Eb, and auxillary left hand Eb/Ab key). After four years of moderate use I have had no adjustment problems at all. I believe that when considering whether to get extra keywork or not the "adjustment" issue should be no more than a secondary consideration (if that).
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Author: JMcAulay
Date: 2002-02-04 04:29
Robert, your experience with the Leblanc LL may not be typical of all FB instruments. I am not a big fan of Full Boehm clarinets, and the only one I have with any "extra facility" is a Richard Keilwerth which has the added Left Pinkie Thingie (™ Lelia Loban) and fork Bb/Eb. That extra LH G#/D# is convenient, so long as I can remember where the extra key really is (just not accustomed to it), but the fork Bb/Eb has never been in adjustment since I bought the instrument (not new). The implementation of this feature seems to be inconsistent with the rest of this rather nice instrument: it has -- let us say -- a design which seems less than wonderful. It appears to be intrinsically difficult to set up and adjust properly. I'd probably be interested in comparing it with some others but have never done this. It would be a big surprise to me if Leblanc does it the same way as Keilwerth.
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