 The Clarinet BBoard
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Author: SVClarinet09
Date: 2007-02-17 22:49
Does anybody put cork on their Ab/G# Throat Key? My instructor does and it really baffled me because I haven't seen anyone else do so. What are the advantages? I know he has a nickel plated R13. Could that be why? Would you consider placing one on Silver Plated keys?
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Author: Chris P
Date: 2007-02-17 23:05
Is this so you can reach it easier? That's the only thing I can think of.
Use Evo-Stik or similar so it doesn't harm the plating, and DON'T roughen up the plating on the touchpiece with emery or sandpaper before glueing the cork on!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: z123carleigh
Date: 2007-02-17 23:08
Hmmm, my Ab key has cork, but I didn't put it there. Never thought about it before, but I would guess it's to protect the key if you tend to press it hard?
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Author: Tobin
Date: 2007-02-18 00:40
Hello Melvin,
There is a sliver of cork on my horns to reduce noise: no click of metal on wood. You could alter the action of the key by increasing it's thickness.
You are speaking of the cork undereath the key where the key touches the wood, and not a cork pad, correct?
James
As a complete aside: Chris P, I was going to send you an email to ask you a question but your email isn't available. This is for my clarification, and if you don't mind would you email me? Thanks, regardless.
Gnothi Seauton
Post Edited (2007-02-18 00:44)
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Author: SVClarinet09
Date: 2007-02-18 00:53
I meant a cork ON the actual key. Your finger touches the cork. I guess it's so your hand doesn't slip?
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Author: skygardener
Date: 2007-02-18 00:59
I am guessing you meean ON TOP of the key???
I did it once. At the time it felt better because it was higher and my finger didn't slip on the key.
Haven't thought about that in a while- maybe I'll do it again.
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Author: mk
Date: 2007-02-18 01:23
i believe the correct answer is to improve positioning of the key to closer to the finger to improve hand position. This raises an intersting question, with the tremendous difference in hand size amongst all clarinetists, what is the ideal hand size for clarinetistry? I would argue that Charlie Neidich not only has the perfect hand size, but also the most incredible timing I have ever witnessed.
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Author: Tobin
Date: 2007-02-18 03:01
Never seen it on top of the key, but it sounds like a good solution to improve hand position as Mike suggests.
James
Gnothi Seauton
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Author: hartt
Date: 2007-02-18 03:55
Attachment: key.jpg (148k)
Attachment: key2.jpg (162k)
Hello Melvin
Do you mean a cork like this? See link
it is positioned atop the G# key so the left wrist has the least amount of movement when playing teh G#/Ab
I have this cork on both my eefers and one Bb.
The crook of the LH index finger barely touches it .
I used a piece of cork, shaped it with round files to fit the contour of the key surface and used contact cement.
Saxaphones often have them. They are known as Key Risers adn usually made of rubber. Simply slipped over the top 3 LH keys.
I have them on my MK6's because of the key positioning. However, on my Buffet SDA's, teh keys are positioned differently and not needed.
dennis
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Author: hartt
Date: 2007-02-18 06:51
yes ray ray
I intended to apologize for the dust but forgot to mention it. Age, ya know.
they need to be played more often
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Author: Paul Aviles
Date: 2007-02-18 18:02
Where are you putting your thumb? I am not being contrite. I have found of late that the position of the thumb is critical to having a lot of things go right (or not). When placing the thumb with joint bumping the lower edge of the "F" tube, tip of thumb angled just off to the right (perhaps 15 degrees at most) of the register key's center line, my left hand fingers fall naturally in a curved fashion, index finger literally on the "G#" key (palm parallel with horn about one inch from nearest surface).
If the index finger is far enough away from the "G#" key to need a large bumper or wrist movement of any notable size I would think many techniques would be considerably hampered.
...........Paul Aviles
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Author: Chris P
Date: 2007-02-18 18:25
I must admit that I did tweak the height of the throat G# key touch upwards on my Eb at the same time I soldered the adjusting screw to it - and fitted a pillar into the body underneath to act as a stopper instead of the huge cork wedge that was on the underside of the G# touch previously.
If the Yamaha 600 series Eb is anything like the R13 in keywork design, the throat G# is sitting very close to the body when at rest.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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