Clarinet
Groups of clarinets playing together have become increasingly popular among clarinet enthusiasts in recent years. Common forms are:
- Clarinet choir, which features a large number of clarinets playing together, usually involves a range of different members of the clarinet family (see Extended family of clarinets). The homogeneity of tone across the different members of the clarinet family produces an effect with some similarities to a human choir.
- Clarinet quartet, usually three B♭ sopranos and one B♭ bass, but also sometimes four B♭ sopranos.
Clarinet choirs and quartets often play arrangements of both classical and popular music, in addition to a body of literature specially written for a combination of clarinets by composers such as Arnold Cooke, Alfred Uhl, Lucien Caillet and Václav Nelhýbel.
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Extended family of clarinets
- Main article: Clarinet family
There is a family of many differently-pitched clarinet types, some of which are very rare. The following are the most important sizes:
- Piccolo clarinet in A♭.
- Soprano clarinets in E♭, D, C, B♭, A and G.
- Basset clarinet in A.
- Basset horn in F.
- Alto clarinet in E♭.
- Bass clarinet in B♭.
- Contra-alto clarinet in EE♭.
- Contrabass clarinet in BB♭.
Experimental EEE♭ and BBB♭ Octocontra-alto and Octocontrabass clarinets have also been built.
Clarinets other than the standard B♭ and A soprano clarinets are sometimes known as harmony clarinets.
There have also been soprano clarinets in C, A, and B♭ with curved barrels and bells marketed under the names Saxonette, Claribel, and Clariphon.
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History
The clarinet developed from a Baroque instrument called the chalumeau. This instrument was similar to a recorder, but with a single reed mouthpiece similar to that of the modern clarinet and a cylindrical bore. Lacking a register key, it was played mainly in its fundamental register, with a limited range of about one and a half octaves. It had eight finger holes, like a recorder, plus two keys for its two highest notes. At this time contrary to modern practice the reed was placed in contact with the upper lip.
Around the turn of the 18th century the chalumeau was modified by converting one of its keys into a register key to produce the first clarinet. This development is usually attributed to a German instrument maker named Johann Christoph Denner, though some have suggested his son Jacob Denner was the inventor. This instrument played well in the middle register with a loud, strident tone, so it was given the name clarinetto meaning "little trumpet" (from clarino + -etto). Early clarinets did not play well in the lower register, so chalumeaux continued to be made to play the low notes and these notes became known as the chalumeau register. As clarinets improved, the chalumeau fell into disuse.
The original Denner clarinets had two keys, and could play a chromatic scale, but various makers added more keys to get improved notes, easier fingerings, and a slightly larger range. The classical clarinet of Mozart's day typically had eight finger holes and five keys.
Clarinets were soon accepted into orchestras. Later models had a mellower tone than the originals. Mozart (d. 1791) liked the sound of the clarinet (he considered its tone the closest in quality to the human voice) and wrote much music for it, and by the time of Beethoven (c. 1800–1820), the clarinet was a standard fixture in the orchestra.
The next major development in the history of clarinet was the invention of the modern pad. Early clarinets covered the tone holes with felt pads. Because these leaked air, the number of pads had to be kept to a minimum, so the clarinet was severely restricted in what notes could be played with a good tone. In 1812, Ivan Mueller, a Russian-born clarinetist and inventor, developed a new type of pad which was covered in leather or fish bladder. This was completely airtight, so the number of keys could be increased enormously. He designed a new type of clarinet with seven finger holes and thirteen keys. This allowed the clarinet to play in any key with near equal ease. Over the course of the 19th century, many enhancements were made to Mueller's clarinet, such as the Albert system and the Baermann system, all keeping the same basic design. The Mueller clarinet and its derivatives were popular throughout the world.
The final development in the modern design of the clarinet used in most of the world today was introduced by Hyacinthe Klosé in 1839. He devised a different arrangement of keys and finger holes which allow simpler fingering. It was inspired by the Boehm System developed by Theobald Boehm, a flute maker who had invented the system for flutes. Klosé was so impressed by Boehm's invention that he named his own system for clarinets the Boehm system, although it is different from the one used on flutes. This new system was slow to catch on because it meant the player had to relearn how to play the instrument. To ease this transition, Klose wrote a series of exercises for the clarinet, designed to teach his fingering system. Gradually, however, it became the standard and today the Boehm system is used everywhere in the world except Germany and Austria. These countries still use a direct descendant of the Mueller clarinet known as the Oehler system clarinet. Also, some contemporary Dixieland and Klezmer players continue to use Albert system clarinets, as the simpler fingering system can allow for easier slurring of notes. At one time the reed was held on using string, but now the practice exists primarily in Germany and Austria, where the tone is preferred over that produced with the ligatures that are more popular in the rest of the world.
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See also
- Clarinet makers – lists of makers of clarinets, clarinet mouthpieces, and clarinet reeds.
- Double clarinet – a Middle Eastern instrument, not a true clarinet in the western sense of the term
- Quarter tone clarinet
- List of classical clarinetists
- List of jazz clarinetists
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Notes
- ^ Sadie, Stanley (1984). New Grove Dictionary of Musical Instruments. Macmillan Press, 391.
- ^ Rendall, F. Geoffrey (1971). The Clarinet (Third Edition), 11–15.
- ^ Greenline Clarinets. Buffet Crampon. Retrieved on 2007-03-16.
- ^ Materials. Hanson Clarinets. Retrieved on 2007-06-22.; Ridenour, Tom. The Grenadilla Myth. Retrieved on 2007-03-16.
- ^ Heaton, Roger. "The Contemporary Clarinet". doi:. In Lawson (ed.), Colin (1995). The Cambridge Companion to the Clarinet. Cambridge University Press, 174–175.
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References
- Nicholas Bessaraboff, Ancient European Musical Instruments. Boston: Harvard University Press, 1941.
- Jack Brymer, Clarinet. (Yehudi Menuhin Music Guides) Hardback and paperback, 296 pages, Kahn & Averill. ISBN 1-871082-12-9
- David Pino, The Clarinet and Clarinet Playing. Providence: Dover Pubns, 1998, 320 p.; ISBN 0-486-40270-3
- F. Geoffrey Rendall, The Clarinet. Second Revised Edition. London: Ernest Benn Limited, 1957.
- Cyrille Rose, Artistic Studies, Book 1. ed. David Hite. San Antonio: Southern Music, 1986.
- Nicholas Shackleton, "Clarinet", Grove Music Online, ed. L. Macy (accessed 21 February 2006), grovemusic.com (subscription access).
- Buffet Crampon Greenline website
- Jennifer Ross, "Clarinet", "Ohio: Hardcover Printing Press, 1988.
- Fabrizio Meloni, Il Clarinetto, ill., 299 pages, Zecchini Editore, zecchini.com Italy, 2002, ISBN 88-87203-03-2.
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External links
- The International Clarinet Association
- Comprehensive list of clarinets
- Clarinet acoustics
- Comprehensive list of fingerings for Kinderklarinettes and Boehm-, Albert-, and Oehler-system clarinets
- UNM List of Clarinet Repertoire
- Clarinets in the Edinburgh University Collection of Historic Musical Instruments
- The Silver Clarinet Site
- Clarinet Fingering Chart
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