 The Clarinet BBoard
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Author: SecondTry
Date: 2022-03-03 18:49
A friend of mine and I have talked for the last few years over her eventual need to switch from a "conventionally made" (soprano) clarinet to one with Plateau keys, if she is going to continue to play, given her advancing arthritis.
Bends in the tips of her fingers from the condition make covering the holes more of a challenge with each passing year.
This situation has resulted in two assumptions on my part, either of which could be wrong.
The first is that Plateau key (soprano) clarinets are easier to play than "conventional" (i.e. not Plateau key) clarinets given that finger placement need not be as precise, and the second assumption being that there is some acoustical benefit to conventional clarinets, beyond, for example, the ability to control a glissando on a conventional clarinet by gradually moving the fingers off the holes (as opposed to solely embouchure changes to effect glissandos.)
Clearly off topic here are, for example, bass clarinets where plateau keys are an anthropomorphic necessity given the size of the instrument and the considerable smaller size of the human hand. My focus is on soprano clarinets where their size doesn't make plateau keys a necessity.
So glissandos like those found in the opening of Rhapsody in Blue notwithstanding, what is the benefit of conventional (soprano) non-Plateau key clarinets over Plateau key ones? Are similar principles in play as to why flutes with open tone holes are found in this instruments more professional models?
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Author: Chris P
Date: 2022-03-04 00:17
Attachment: P1010022.JPG (708k)
Not all professional flautists play open hole flutes and there are entry level flutes made with open holes if that's what the player prefers if they can successfully cover all the holes.
Another advantage of plateaux clarinets is the fingerplates are a lot higher in relation to the tonehole chimneys on regular ring key models which means the hands are more open and relaxed whilst playing.
Provided the main action ventings (key/pad heights) are set well, then there shouldn't be any problem with stuffiness in the lower register where closed ventings will really have an impact. Not too much of a problem with ring key clarinets as the toneholes are open, but the ring key pad heights do have to be set well in order to give a clear open G, E (xoo|ooo) and C (xxx|ooo) in the lower register as those notes will suffer if the ring key heights are set too low.
I've only just fully overhauled this older Malerne plateaux clarinet for an older player who has recently started playing clarinet. He's been a sax player all his life and bought an alto clarinet a little while back (a brand new Yamaha YCL-631II) and wanted a Bb clarinet but can't get on with the ring keys as his hands and fingers aren't as flexible as they would've been had he been several decades younger.
And as for the Rhapsody in Blue gliss - that (and other glisses) can be done on plateaux clarinets.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2022-03-04 00:22)
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Author: Tony F
Date: 2022-03-04 02:21
Chris, I'm intigued by your statement that a gliss can be successfully accomplished on a plateau clarinet, as I suspect that I'm going to be heading that way myself in the not too distant future. Is there a technique involved, or is it just a matter of long and thoughtful practise? The best I can manage is a sort of jerky progression, although I have no trouble with it on an open-hole clari.
Tony F.
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Author: Chris P
Date: 2022-03-04 03:54
It's like lower register glisses on saxes - a combination of using your throat muscles and tongue as though you're whistling up and down and controlled opening of the fingerplates.
Or using a specific fingering that will allow a long gliss by only moving a couple of fingers. The 'Rhapsody' gliss can be done when you get to the upper register C# and then lifting the left thumb off the thumbplate (while keeping the speaker key held open), then "lipping" it up to the top C where it'll naturally want to land on and not go any further. You can help the middle of the gliss by slowly raising and lowering LH3 as you're ascending should you need to.
Similarly with the 'Begin the Beguine' gliss, depending which key you're playing it in as I've played it in three different keys - Concert D being the best key for it as opposed to the keys of Db (with too many throat Bbs) or Eb.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Max S-D
Date: 2022-03-05 02:38
I would think that a major reason plateau clarinets are not more common is that they would need to be marginally more complex to adjust, manufacture and maintain with 7 additional pads and the requisite linkages required to get them to function. Obviously, a competent tech can handle it, but it's still a fair bit more going on than with open rings. Since it's relatively easy for most players to cover the open holes, it's probably just not worth it.
It's great, though, that there are options for those who are not able to cover the open holes. I suppose it's likely I'll be there one day as well.
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Author: richardstone
Date: 2022-03-05 02:55
Secondary,
I recently purchased a used Hanson Plateau clarinet from a player in London. I was having problems covering the holes consistently and was about ready to quit playing when I decided to give it a try. I paid about $400.. with shipping to US and I was amazed at the ease at which I could play and the quality of the instrument and my sound. My playing has improved immensely and my teacher says this was a great purchase. I would hardily recommend a plateau clarinet for anyone and the Hanson is available new from Hanson in the UK. I also tried the new Uebel plateau at around $6,000 and to be honest I can't tell any difference in the sound quality. The Uebel is made from very high quality ebony with silver fittings and comes in a great case. If I was a professional I'm sure I would appreciate the differences between the two instruments.
If your friend is in the Seattle area I would be happy to let them try my instrument.
Richard Stone
richarddstone@mac.com
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Author: Tony F
Date: 2022-03-05 18:27
Chris,
Thanks for the tip. I can foresee a lot of practise in my future.
Tony F.
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