Author: Tom Ridenour
Date: 2015-03-26 19:50
Those clarinets with E,F, and F#4 in tune with the natural fingerings produce tones that color poorly and have reduced resonance when compared to other tones above and below them. But, when the resonance combinations are added to these fingerings when the natural combination is slightly low they not only become perfectly in tune, they have tonal clarity, flexibility, depth, and resonance the equal to every other tone on that clarinet. If resonance fingerings are added to these same tones that a re built in tune with the natural fingerings they produce equal tonal improvement, but the tuning is ruined because of the resulting sharpness.
Of course, in rapid passages the natural fingerings are always used and tuning is no issue at all. But on sustained, exposed tones you want your best timbre and clarity, not just your best tuning. By building the natural fingerings of these throat tones a bit low and adding resonance fingerings to them when sustained you get the very best of both worlds; great tuning and great timber.
It is easy for people, when speaking about tuning, to forget that the clarinet tone is not just about tuning. And the ideal solution should result in optimum tuning, timbre, flexibility, stability,color, resistance and resonance. ALL these things should be taken into account in any analysis attempting to be thoroughgoing.
THE DILEMMA OF THE UPPER LEFT HAND TONES The compromise causing the e,f,f#4 throat tones to be inferior in timbre, resonance, resistance and flexibility is the result of the tones these tone holes must produce a 12 higher (left hand clarion b and c). These upper clarion tones need support and adequate resistance to keep them from sounding shrill, thin, and unfocused, preventing undertoning (grunting), having proper depth, and stability in color and shape in dynamic changes. Some of the needed support and resistance of these upper clarion tones is supplied by good register key design. But the register key cannot do it all because of harmful effects that would result elsewhere on the clarinet.
Thus, the compromise, favoring as it should the upper clarion tones is called for. Why? Because the clarion is the SOLO register, and every provision should be made to make it as perfect as possible in every respect.
TWO SOLUTIONS (ONE INADEQUATE) The timbral sacrifice of e,f, and f#4 is the result of such an understanding, with player skill providing the perfect solution. But no such perfect solution is possible, player generated or otherwise, if the upper chalumeau tones are build perfectly in tune but with inferior resonance, flexibility, color, and depth.
My solution to the dilemma of the different needs of the upper chalumeau and upper clarion corollaries provides the possibility of optimum results for both sets of tones.
Regarding the low E, on some 576 clarinets the low E is a bit high, and can be improved by pulling the bell. On other individual 576 clarinets the low E is extremely well in tune, as is its 12th corollary, commonly known as "bell B."
It is important to note that, not included in this section of what I assume is a whole review, is the observation that the tuning between the low F and right hand clarion C is virtually perfect on the 576, as is the tuning between low G and RH clarion D, and that the right hand 12ths are perfect, with no hint of right hand chalumeau sharpness or pitch instability--something very rare for clarinets at any price level.
The extremely flat low F on the leading models of extremely expensive Bb clarinets has been commonly accepted as something clarinet players have to "live with." There is no known no solution save for more keys and holes to be added for the player to have to manipulate--and even that doesn't work in every case, because the correction design is flawed.
In contradistinction, the 576 produces a superior tuning ratio between low F and RH clarion C with the standard mechanism, and it often turns out to be superior to clarinets costing four times more with all kinds of added hardware. (To Selmer's credit I find the Signature also has an outstanding RH F/c 12th using only the standard mechanism. Kudos to Selmer, as always, and their wonderful clarinets.) But, their cost is considerably more than what the Lyrique 576 offers with equal features, and, in my experience, a superior, more fluid response and tuning in the lower altissimo.
And, finally, I believe it is important to consider the following. The clarinet seems to be the only instrument I can name where players, professional players, seem to think they should be able to play the clarinet on a high artistic level using only the fingerings found on the chart they used in beginning band.
There is a certain irony here, because the clarinet, of all woodwinds with the exception of the bassoon, offers the widest variety of choices that enable the thoughtful and skilled clarinetist to play the clarinet to an amazing degree of both technical and artistic perfection in every respect. The standard Bb clarinet, when properly and thoughtfully designed, is nothing short of a miracle of economy, simplicity, and perfection. But the clarinetist must get involved with some degree of learning and understanding. But don't expect clarinetists who achieve this high level to limit themselves to the fingering chart found in the Rubank or Belwin beginning band book.
I can, with the greatest of ease, play the 576 with virtual tuning perfection in all its registers, with minimal adjustments (done mainly with tongue position and a few fingering combinations). If an old, over the hill clarinet player can do that who doesn't have time to devote to every day practice (or at all), surely these young Turks should find the 576 a piece of cake to play and control on a very high level--and many do.
Regarding playing comfort; that is the remark we get most of all from our customers because of the superior evenness of response and stability of the 576...so we must be doing something right in our attempt to think comprehensively about the clarinet and clarinet acoustics.
Tom Ridenour
Ridenour Clarinet Products,
rclarinetproducts.com
sales@ridenourclarinetproducts.com
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