Clarinets in the Edinburgh University Collection of Historic Musical Instruments

Contents

Technical Development in Detail

5-key clarinets


Photo: The key for throat A of the clarinet by Milhouse, London c 1805, (2001).

The two keys on the upper section were derived from the chalumeau, which was probably developed from the recorder. The first instruments with a beating single reed could not accurately overblow, so makers extended their compass by boring additional tone-holes which were closed by keys.

If the player leaves all tone-holes open, this will give G4 on the clarinet. If the player then operates the key on the front of the instrument this will give A4. Because of their damped sound these notes are also called the throat register.
 



Photo: Throat A and speaker key of the clarinet by Milhouse, London c 1805, (2001).

On the chalumeau the key for the left thumb was used to give B-natural4 when it is pushed down together with the A key. It is thanks to Johann Christoph Denner that the thumb key developed into an overblowing key (speaker), by moving the tone-hole closer to the mouthpiece. As a disadvantage B-natural4 got lost: pushed down together with the A key it now gives Bb4.

Both keys are mounted in turned rings of rectangular shape. A brass pin fits the key. Leaf springs of tempered brass are riveted to the keys and bear directly on the wood.
 



Photo: Bascule key of the clarinet by Milhouse, London c 1805, (2001).

To compensate the loss of B-natural 5 as a note in the chalumeau register (i.e. not the overblown register), a tone-hole was added near the bottom of the lower section. Because this hole lies beyond the reach of the right hand, a bascule key for the little finger on the left hand (L4) to close it became common. The bascule key is a two part key whose head is mounted on a separate lever and therefore it closes when the touch is depressed.

Used with all finger holes covered and speaker operated it gives B-natural4, which now belongs to the overblown register. Besides filling the gap between lower and upper register this key offers also an extension of the compass by producing E3 in the chalumeau register. In opposition to the closing bascule, the second lever for L4 opens a tone-hole: with all finger holes covered it gives F#3/C#5. Both keys are mounted in a bell-shaped swelling and are guided through a turned ring (E3/B4), or a block (F#3/C#5).
 


To enable the clarinettist to play in different keys makers added a tone-hole for G#3/ Eb5. As a part of a careful design the shaping of this key became quite common. Here are some examples for comparison.


Photo: G# key by Milhouse, London c 1805 (2001).


Photo: G# key by D'Almaine & Co., London, c 1834 (1846).


Photo: G# key by Cramer & Key, London, c 1806 (2002).


Photo: G# key by Thomas Key, London, c 1830 (2452).

Back to Contents

6-key clarinets



Photo: Trill key of a clarinet by D'Almaine & Co., London, c 1834 (1846).

In Britain the sixth key on the clarinet was a key to trill between throat A and B-natural4 as well as between throat Bb and C-natural5. To move between the throat and overblown registers the player must change from no tone-holes covered to all tone-holes covered, which is very awkward.

A tone-hole bored above the finger holes of the upper section gives a semitone higher when it is opened together with, for example, the A key. The key is operated with a long side lever moved by the index finger of the right hand. Because of the poor intonation of this note it can not be used as an alternative fingering, only as a trill.
 


Photo: Cross key for C#4/G#5 of a clarinet by F. Piering, Graz, 1835 (974).

C#4/G#5 could be played on the clarinet by a forked fingering, but the intonation and sound were not good. The sixth key on continental clarinets was C#4/G#5, continental makers seemed to be more interested in better intonation and even sound, rather than making rapid passages possible. The key for throat Ab is probably a later addition.

 

A major task for clarinet makers was to ease the duties of the little finger of the left hand, which has to glide between several keys. James Wood's patent of 1819 is one of the earliest approaches to simplifying this fingering, by giving two levers lying upon each other so that L4 can slide easily from the upper touchpiece to the lower. The keys are elegantly mounted in a brass saddle and guided by a fusiform swelling as well as by a wooden block for the bascule key.




Photos: Bascule key after Wood's patent on a clarinet by D'Almaine & Co., London, c 1834 (1846).

Next chapter: Details of 8- and 9-key clarinets

Contents of the Clarinet Web Guide