Technical Development in Detail

Photos: Upper section and lower section of a clarinet by J.G.H. Backofen, Darmstadt, 1825 (108).

This clarinet offers an unusual side key for L3 instead of a cross key, corresponding to the way it is used with the side key for R3 or R4 on the lower section. The levers for L4 are mounted in blocks and guided through a fusiform swelling to protect them from damage. The levers' touchpieces are shaped to facilitate the sliding of the little finger from one key to the other. For the convenience of the player this clarinet has an integral wooden thumb rest, which helps the player support the instrument.

Photos: Lower section with shaped bascule keys and wooden integral thumb rest of a clarinet by J.G.H. Backofen, Darmstadt, 1825 (108).

Photos: Details of a clarinet by J. Selboe, Copenhagen, c 1850 (4063).

With its use of turned rings and swelling, the Selboe's clarinet looks at the first sight very similar to that of Backofen (above). One difference liea, however, in the structure: the Danish instrument combines the upper and the middle section in one piece, Backofen's clarinet is divided more customarily into an upper section for the left and a lower section for the right hand. Astonishingly the Selboe clarinet uses a turned ring for C^#₄/G^#₅, so that it can not be separated at this point. Even more interesting is the spectacle key, a quite new invention at this time, made in Belgium by Adolphe Sax about 1840. The spectacle is the solution for the B-natural₃/F^#₅ and B^b₃/F-natural₅ problems that finally became widely accepted.

As observed on earlier instruments, like the Backofen, a correction key for B-natural₃/F^#₅ came into use, either a cross key for R2 or a side key for R3/4. Because closing the tone-hole for R1 alone gave a pitch that was too flat, this key was at the same time opened. The basic principle of the new method is that this vent-hole stays open. It closes automatically when playing deeper notes and when closing lower tone-holes respectively. Now the clarinettist can simply use R1 for B-natural₃/F^#₅. Later clarinets featuring this spectacle became known as “Simple System”.

Photos: Upper section of a clarinet by J. Bray, Dublin, c 1850 (973), 13 keys (above); upper section of a clarinet by Pask & Koenig, London c 1850 (1035), 13 keys.

A comparison between another two instruments of the 1850s shows the variety of designs. Whereas the Dublin instrument in upper pictures (973) still uses blocks, rudiments of turned rings, and saddles mounted on plates, the contemporary London instrument in the lower pictures (1035) is of a newer, more elegant design. The keys were mounted in pillars screwed directly into the wood. Leaf spring riveted to the key were still in use because they work very efficiently, especially on longer keys. On short keys, like cross keys, leaf springs were less satisfactory. For G^#₃/E^b₅ the London clarinet has a pivot working with a needle spring mounted above the lowest finger-hole of the lower section. Mounting with pillars and pivots enables the makers to abolish the swelling. On Pask & Koenig's instrument, the levers for L4 have leaf springs riveted to the key and bearing very small metal saddles. Only the raised tone-hole for F₃/C₅ reminds us of the swelling.

Photos: Lower section of a clarinet by J. Bray, Dublin, c 1850 (973), 13 keys (above); lower section of a clarinet by Pask & Koenig, London c 1850 (1035), 13 keys.

Photo: Tuning slide on a clarinet by J. Bray, c 1850 (973) and on a clarinet by G. Wood, c 1832  (938).

George Wood and John Bray used the same solution for tuning the instrument: clarinettists use to make adjustments to the pitch by slightly separating the barrel from the upper section. One disadvantage of this method is that the connection between the two parts gets loose. So these instruments are featured with a so called tuning slide. Wood uses a tuning slide made from brass, Bray uses wood. Some instruments have a tuning slide of cardboard.