 The Clarinet BBoard
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Author: wjk
Date: 2002-05-29 16:02
It is my understanding that the throat tone C sharp can be a lousy note because the vent hole for this note should ideally be where the break between the two main clarinet parts is. Is there a way to adjust the clarinet to improve this note? Any suggested alternate fingerings?
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Author: Dee
Date: 2002-05-29 16:42
This note is not considered one of the throat tones. The throat tones are open G, Ab, A, and Bb. The note that you are speaking of should be referred to as the chalumeau C#. Basically you need to keep the tone hole scrupulously clean and make sure that the key height when open is properly set. These will minimize the problem.
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Author: Kat
Date: 2002-05-29 16:58
There is an alternate fingering, but it sounds worse than the usual one. Use thumb hole, first and second fingers on L.H., and first and second fingers on R.H.
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Author: diz
Date: 2002-05-29 22:43
That C# is a bit of a horror, I agree - Dee is absolutely correct when referring to keeping the hole clean. Thanks Kat - I must try that fingering and see what happens.
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Author: Josh
Date: 2002-05-29 22:48
I've also found that when playing the low C#, adding the low B sliver key does a lot to open up the note. You'll have to experiment with a tuner to find out what the exact pitch tendencies are for you clarinet, and figure out what adjustments to make, but it's worth it if you have to play an exposed sustained C# or G#. Bon clarinettin'!
Josh
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Author: William
Date: 2002-05-30 01:36
The C# your refering to is usually a good note for me. The note that suffers is the G# on top of the top line. Just my two cents worth (and the check is NOT in the mail) Good Clarineting!!!
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Author: ken
Date: 2002-05-30 11:59
The characteristics of a chalumeau C#/Db on Bb horns (regardless of quality/price) is generally sharp, buzzy and stuffy....it's a bad note. Correct pad/cup height and impediment-free tone hole can help a little to clear it up. Other than that, I've found there's not alot I can do to about it other than lipping down, experimenting and applying lower right/left cluster vent key(s), and just playing the note(s) as full-bodied and centered as possible. v/r KEN
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Author: Don Berger
Date: 2002-05-30 13:33
The "articulated" C#/G# puts the tone hole in a much better location, which with proper pad-rise cleans up the note. It is frequently coupled with the Eb/Bb fork in what I call a HALF Full Boehm system. My preference would be that the 2nd addition would be the left-little-finger Ab/Eb lever, likely a special order cl. Don
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Author: RS
Date: 2002-05-31 04:57
My Leblanc LL has the articulated G#/C# Don mentioned above and both the mid-clarion G# and the chalumeau C# are strong clear notes with no difference in timbre or response from the adjacent notes. With my Leblanc LX (regular 17-6 Boehm) the C# is stuffy and weak though the G# is okay. I haven't had any adjustment problems with the articulated mechanism either though the pad must be kept clean so it doesn't stick. I'm a strong believer in the articulated G#/C# mechanism and like having the forked Eb/Bb and alternate Eb/Ab key as well. But like Don says horns equipped with these extra mechanisms are usually special order items. Therefore they're more expensive than 17-6 Boehms but they're worth it in my opinion.
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Author: Don Berger
Date: 2002-05-31 18:19
V G comments, R S, in my LeBlanc catalog where [for dating purposes, mid 80's - 90's?], the Opus, Concerto and LX2000 are shown, the Special Mechanisms page shows as available, Model 1186S [LL] which has as the only addition the artic. C#/G#, also there are several other combinations of their additions. Other makers no doubt have similar combos. I have several Full Boehms, a 1932 Selmer is my current interest, a 3/4's [no low Eb] Pruefer, and a LeB Dynamic 2 with the artic. and fork, the ?predecessor? to the Dyn H and Pete Fountain cls [no gold plating tho!] . This catalog also has a pic of Tom Ridenour. So, there are solutions to these "bad" notes. Don
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