THE VINTAGE CLARINET DOCTOR
  • Home
    • About Us
    • Clarinet Donations
    • Why Vintage Clarinets?
  • Before and After
  • Contact Us
  • Learn
    • Blog
    • Clarinet Lengths
    • Clarinet Makers
    • Fingering Systems
    • Links
  • Shop
    • Clarinets >
      • Vintage Boosey and Hawkes 2-20 Bb Boehm Clarinet
      • Vintage Siour Chapelain Bb Boehm Clarinet
      • Vintage Conn 446N Bb Boehm Clarinet
      • Vintage Leblanc. Noblet Bb Boehm Clarinet
      • Vintage Leblanc Normandy Special Bb Boehm Clarinet
      • Vintage Paris Selmer A LP Boehm Clarinet
      • Vintage Selmer Model 55 Bb Boehm Clarinet
      • Vintage Thibouville Freres Bb Boehm Clarinet
    • Flutes
    • Mouthpieces
    • Saxophones >
      • Vintage P. Gerard Beaugnier Stencil Eb Alto Saxophone
      • Vintage Kohlert Eb Alto Saxophone
      • Vintage Martin Handcraft Alto Saxophone
  • Services
    • FAQ
    • Performance
    • Services II - Technical Info
  • Testimonials

The Grenadilla Wood Clarinet Myth Pt.1

10/28/2023

0 Comments

 
Picture
Having just enjoyed a postprandial glass of wine, I'm going to take a chance on a topic I might not otherwise address: the ostensible primacy of grenadilla wood as the clarinet construction material of choice! 

 Now, I know that I will probably ruffle some feathers with this, but I've played (and restored) a lot of clarinets in my day and have noticed a couple things: 1) the performer's mouthpiece, reed, oral cavity, articulation, breath support and tonal concept seem to have more to do with the resultant tone than a specific clarinet, and 2) the material from which the instrument is constructed plays less of a role in its tone than the quality of said construction plus setup and its interaction with all the factors mentioned in #1. 

 The first point is fairly easy to establish in your own practice: if you play classical music, use a narrow tip, large chamber mouthpiece with a stiff, French file cut natural reed and are channeling Reginald Kell as your Tone God, you will have approximately the same dark, focused tone on a Buffet, Leblanc or Thibouville Freres. Likewise, if you play Jazz, use a Vandoren 5JB with a 2.5 Fibracell reed, and love Peanuts Hucko, the bright, flexible tone will shine out from an Orsi to an A. Robert. The ergonomics of key-work and the back-bore pressure will vary, it is true, along with other, subtler factors, but many of these are attributable to the quality of the pad work and the interaction of your mouthpiece with the bore size/taper of the instrument at hand. A change in mouthpiece or brand of reed would result in a more noticeable change of tone! 

 The second can only be demonstrated with access to a number of instruments over time, which access most teachers and performers don't have, unless they are the kind of hardened collector who has the luxury of both copious funds and unencumbered hours. Being exactly that type myself, I have had the chance to play a variety of wood, hard rubber, metal, and composite clarinets in different keys and different fingering systems and believe that the material has a limited impact on the tone, intonation and play-ability of the instrument.


  To be continued....

0 Comments

Your comment will be posted after it is approved.


Leave a Reply.

    Archives

    February 2024
    January 2024
    December 2023
    November 2023
    October 2023
    July 2023
    May 2023
    June 2022
    April 2022
    May 2021
    August 2020
    July 2020
    March 2020
    February 2020
    December 2019
    November 2019
    October 2019
    August 2019
    July 2019
    June 2019
    April 2019
    February 2019
    January 2019
    December 2018
    November 2018
    October 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    March 2018
    January 2018
    December 2017
    November 2017
    August 2017
    July 2017
    June 2017
    May 2017
    April 2017
    March 2017
    January 2017
    December 2016
    November 2016
    August 2016
    July 2016
    June 2016
    May 2016
    March 2016
    February 2016
    December 2015
    November 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    December 2014
    November 2014
    May 2014
    December 2013
    October 2013
    September 2013
    June 2013
    May 2013
    April 2013
    March 2013
    January 2013
    November 2012

    Picture

    Author

    The Licorice Shtick Blog is the creation of the Vintage Clarinet Doctor, a Winston Salem, NC based woodwind instrument repair shop specializing in vintage and antique clarinets, saxophones, and the occasional flute.

    Categories

    All
    Clarinet
    Mouthpiece
    Reed
    Saxophone

    RSS Feed

Proudly powered by Weebly
  • Home
    • About Us
    • Clarinet Donations
    • Why Vintage Clarinets?
  • Before and After
  • Contact Us
  • Learn
    • Blog
    • Clarinet Lengths
    • Clarinet Makers
    • Fingering Systems
    • Links
  • Shop
    • Clarinets >
      • Vintage Boosey and Hawkes 2-20 Bb Boehm Clarinet
      • Vintage Siour Chapelain Bb Boehm Clarinet
      • Vintage Conn 446N Bb Boehm Clarinet
      • Vintage Leblanc. Noblet Bb Boehm Clarinet
      • Vintage Leblanc Normandy Special Bb Boehm Clarinet
      • Vintage Paris Selmer A LP Boehm Clarinet
      • Vintage Selmer Model 55 Bb Boehm Clarinet
      • Vintage Thibouville Freres Bb Boehm Clarinet
    • Flutes
    • Mouthpieces
    • Saxophones >
      • Vintage P. Gerard Beaugnier Stencil Eb Alto Saxophone
      • Vintage Kohlert Eb Alto Saxophone
      • Vintage Martin Handcraft Alto Saxophone
  • Services
    • FAQ
    • Performance
    • Services II - Technical Info
  • Testimonials