Examine individual changes

'{{short description|type of woodwind instrument}} {{Infobox Instrument |name=Clarinet |names= |image=Yamaha 657 CSG 30.jpg |image_size = 250px |image_capt = [[B♭ (musical note)|B{{music|flat}}]] clarinets ([[Boehm system (clarinet)|Boehm]] and [[Oehler system|Oehler fingering system]]) |background=woodwind |classification= *[[Wind instrument|Wind]] *[[Woodwind instrument|Woodwind]] *[[Single-reed instrument|Single-reed]] |hornbostel_sachs=422.211.2–71 |hornbostel_sachs_desc=[[Single-reed instrument|Single-reeded]] [[aerophone]] with keys |range= {{multiple image | align = center | image1 = Clarinet range.svg | width1 = 100 | caption1 = Written range (though it is possible to play higher) | image2 = Clar_sop_sib_-_Registre_correct.jpg | width2 = 100 | caption2 = Sounding range Bb-clarinet }} |midi=071/072 |related= * [[Clarinet d'amore]] * [[Basset horn]] * [[Saxophone]] * [[Tárogató]] * [[Oboe]] * [[Chalumeau]] |musicians= * [[Clarinetist]]s |articles=}} {{Woodwinds}} The '''clarinet''' is a family of [[woodwind instrument]]s. It has a [[Single-reed instrument|single-reed]] mouthpiece, a straight, cylindrical tube with an almost cylindrical [[bore (wind instruments)|bore]], and a flared bell. A person who plays a clarinet is called a ''[[clarinetist]]'' (sometimes spelled ''clarinettist''). While the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. During the [[Baroque music|Late Baroque era]], composers such as [[Bach]] and [[Handel]] were making new demands on the skills of their trumpeters, who were often required to play difficult melodic passages in the high, or as it came to be called, ''clarion'' register. Since the trumpets of this time had no [[Brass instrument valve|valves or pistons]], melodic passages would often require the use of the highest part of the trumpet's range, where the harmonics were close enough together to produce [[scale (music)|scales]] of adjacent notes as opposed to the gapped scales or [[arpeggios]] of the lower register. The trumpet parts that required this specialty were known by the term ''clarino'' and this in turn came to apply to the musicians themselves. It is probable that the term clarinet may stem from the diminutive version of the 'clarion' or 'clarino' and it has been suggested that clarino players may have helped themselves out by playing particularly difficult passages on these newly developed "mock trumpets".<ref>[[Clarinet#Pino|Pino]], pp. 198 and 233</ref> [[Johann Christoph Denner]] is generally believed to have invented the clarinet in [[Germany]] around the year 1700 by adding a [[register key]] to the earlier [[chalumeau]], usually in the key of C. Over time, additional keywork and airtight pads were added to improve the tone and playability.<ref>{{Cite book|title=The Baroque Clarinet|last=Rice|first=Albert R.|publisher=Oxford: Clarendon Press|year=1992|isbn=978-0195169546|location=University of Colorado Howard Waltz Music Library|pages=}}</ref> In modern times, the most common clarinet is the B{{music|flat}} clarinet. However, the clarinet in A, just a [[semitone]] lower, is regularly used in orchestral, chamber and solo music. An orchestral clarinetist must own both a clarinet in A and B{{music|flat}} since the repertoire is divided fairly evenly between the two. Since the middle of the 19th century, the [[bass clarinet]] (nowadays invariably in B{{Music|flat}} but with extra keys to extend the register down to low written C3) has become an essential addition to the orchestra. The [[clarinet family]] ranges from the (extremely rare) BBB{{music|flat}} [[subcontrabass clarinet|octo-contrabass]] to the A{{music|flat}} [[piccolo clarinet]]. The clarinet has proved to be an exceptionally flexible instrument, used in the [[classical music|classical]] repertoire as in [[concert band]]s, [[military band]]s, [[marching band]]s, [[klezmer]], [[jazz]], and other styles. ==Etymology== The word ''clarinet'' may have entered the English language via the [[French language|French]] ''clarinette'' (the feminine diminutive of [[Old French]] ''clarin'' or ''clarion''), or from [[Occitan language|Provençal]] ''[[:oc:Clarin|clarin]]'', "oboe".<ref>{{cite web|url=http://www.thefreedictionary.com/clarinetist|title=clarinetist|publisher=The Free Dictionary By Farlex|accessdate=2012-05-26}}</ref> It would seem, however, that its real roots are to be found among some of the various names for trumpets used around the [[Renaissance]] and [[Baroque]] eras. ''Clarion'', ''clarin'', and the Italian ''clarino'' are all derived from the medieval term ''claro'', which referred to an early form of trumpet.<ref>"The Oxford Companion to Music" Percy A. Scholes. Tenth Edition. "Trumpet Family" 3: p1051</ref> This is probably the origin of the Italian ''clarinetto'', itself a diminutive of ''clarino'', and consequently of the European equivalents such as ''clarinette'' in French or the German ''Klarinette''. According to [[Johann Gottfried Walther]], writing in 1732, the reason for the name is that "it sounded from far off not unlike a trumpet". The English form ''clarinet'' is found as early as 1733, and the now-archaic ''clarionet'' appears from 1784 until the early years of the 20th century.<ref>[[Clarinet#Rendall|Rendall]], pp.&nbsp;1–2, 69.</ref> ==Characteristics== ===Sound=== The [[cylinder (geometry)|cylindrical]] bore is primarily responsible for the clarinet's distinctive [[timbre]], which varies between its three main [[register (music)|registers]], known as the ''chalumeau'', ''clarion'', and ''altissimo''. The tone quality can vary greatly with the clarinetist, music, instrument, mouthpiece, and reed. The differences in instruments and geographical isolation of clarinetists led to the development from the last part of the 18th century onwards of several different schools of playing. The most prominent were the German/Viennese traditions and French school. The latter was centered on the clarinetists of the [[Conservatoire de Paris]].<ref>[[#Lawson|Lawson]], p. 87</ref> The proliferation of recorded music has made examples of different styles of playing available. The modern clarinetist has a diverse palette of "acceptable" tone qualities to choose from. The A and B{{music|flat}} clarinets have nearly the same bore and use the same mouthpiece.<ref>[[#Pino|Pino]], p. 26</ref> Orchestral clarinetists using the A and B{{music|flat}} instruments in a concert could use the same mouthpiece (and often the same barrel) (see 'usage' below). The A and B{{music|flat}} have nearly identical tonal quality, although the A typically has a slightly warmer sound. The tone of the [[E-flat clarinet|E{{music|flat}} clarinet]] is brighter and can be heard even through loud orchestral or concert band textures.<ref>{{cite web|url=http://www.philharmonia.co.uk/explore/instruments/e_flat_clarinet|title=Instrument: E-flat clarinet|publisher=Philharmonia Orchestra|author=McLaren, Jennifer|accessdate=2015-06-16}}</ref> The [[bass clarinet]] has a characteristically deep, mellow sound, while the [[alto clarinet]] is similar in tone to the bass (though not as dark).<ref>{{cite book|author1=Black, Dave |author2=Gerou, Tom |title=Essential Dictionary of Orchestration|publisher=Alfred Music|isbn=9781457412998|page=50|date=2005-05-03 }}</ref> ===Range=== {{main|clarinet family|E-flat clarinet|soprano clarinet|alto clarinet|bass clarinet|basset clarinet|basset-horn|contra-alto clarinet|contrabass clarinet}} Clarinets have the largest pitch [[Range (music)|range]] of common woodwinds.<ref>{{cite journal|author=Reed, Alfred|title=The Composer and the College Band|journal=Music Educators Journal|volume=48|issue=1 |date=September 1961|pages=51–53|doi=10.2307/3389717|jstor=3389717}}</ref> The intricate [[key (instrument)|key]] organization that makes this possible can make the playability of some passages awkward. The bottom of the clarinet's written range is defined by the keywork on each instrument, standard keywork schemes allowing a low E on the common B{{music|flat}} clarinet. The lowest [[concert pitch]] depends on the [[transposing instrument|transposition]] of the instrument in question. The nominal highest note of the B{{Music|flat}} clarinet is a semitone higher than the highest note of the [[oboe]] but this depends on the setup and skill of the player. Since the clarinet has a wider range of notes, the lowest note of the B{{Music|flat}} clarinet is significantly deeper (a minor or major sixth) than the lowest note of the oboe.<ref>{{Cite web |url=http://www.ifcompare.com/clarinet-vs-oboe/ |title=Learn the Difference Between Clarinet vs Oboe > IfCompare<!-- Bot generated title --> |access-date=2016-02-27 |archive-url=https://web.archive.org/web/20160304061700/http://www.ifcompare.com/clarinet-vs-oboe/ |archive-date=2016-03-04 |url-status=dead }}</ref> Nearly all [[soprano clarinet|soprano]] and [[piccolo clarinet]]s have keywork enabling them to play the E below middle C as their lowest written note (in [[scientific pitch notation]] that sounds D₃ on a soprano clarinet or C₄, i.e. concert middle C, on a piccolo clarinet), though some B{{music|flat}} clarinets go down to E{{music|flat}}₃ to enable them to match the range of the A clarinet.<ref>{{cite journal|doi=10.2307/922164|last=Cockshott|first=Gerald |author2=D. K. Dent |author3=Morrison C. Boyd |author4=E. J. Moeran |date=October 1941|title=English Composer Goes West|journal=The Musical Times|publisher=Musical Times Publications Ltd.|volume=82|issue=1184|pages=376–378|jstor=922164}}</ref> On the B{{music|flat}} soprano clarinet, the concert pitch of the lowest note is D₃, a [[whole tone]] lower than the written pitch.<!-- [[File:Range clarinet.png|left|thumb|250px|Written range of soprano clarinets.]] --> Most alto and bass clarinets have an extra key to allow a (written) E{{music|flat}}₃. Modern professional-quality bass clarinets generally have additional keywork to written C₃.<ref>Yamaryo, Shigeru, Yamaha Corporation. "Key mechanism for a bass clarinet". {{US Patent |4809580}}. Filing date: 16 October 1987. Issue date: 7 March 1989</ref> Among the less commonly encountered members of the clarinet family, [[Contra-alto clarinet|contra-alto]] and [[contrabass clarinet]]s may have keywork to written E{{music|flat}}₃, D₃, or C₃;<ref>{{cite book|last=Cailliet|first=Lucien|title=The Clarinet and Clarinet Choir|publisher=G. Leblanc Corp|location=New York|year=1960}}</ref> the [[basset clarinet]] and [[basset horn]] generally go to low C₃.<ref>[[#Lawson|Lawson]], p. 32</ref> [[File:Schwenk+Seggelke, Bassett Becher.jpg|thumb|300px|left|basset clarinet with bell pointed upwards ([[Schwenk & Seggelke]])]] Defining the top end of a clarinet's range is difficult, since many advanced players can produce notes well above the highest notes commonly found in method books. G₆ is usually the highest note clarinetists encounter in classical repertoire.<ref name="lowry">{{cite book|last=Lowry|first=Robert|title=Practical Hints on Playing the B-Flat Clarinet|isbn=978-0769224091|publisher=Alfred Publishing|year=1985}}</ref> The C above that (C₇ i.e. resting on the fifth ledger line above the treble staff) is attainable by advanced players and is shown on many [[Fingering (music)|fingering]] charts,<ref name="lowry" /> and fingerings as high as A₇ exist.<ref>{{cite book|last=Ridenour|first=Thomas|title=Clarinet Fingerings: A Comprehensive Guide for the Performer and Educator|place=Denton |publisher=Thomas Ridenour| year=1986|page=42|isbn=978-0971797918}}</ref><ref>{{Cite web|url=http://wfg.woodwind.org/clarinet/cl_alt_4.html|title=Upper Altissimo Register - Alternate Fingering Chart for Boehm-System Clarinet - The Woodwind Fingering Guide|website=wfg.woodwind.org|access-date=2016-11-19}}</ref> The range of a clarinet can be divided into three distinct [[Register (music)|registers]]: * The lowest register, from low written E to the written B{{music|flat}} above middle C (B{{music|flat}}₄), is known as the ''[[chalumeau]]'' register (named after the instrument that was the clarinet's immediate predecessor). * The middle register is known as the ''clarion'' register (sometimes in the U.S. as the ''clarino'' register from the Italian) <ref>{{cite book| last = Sadie| first = Stanley | title = New Grove Dictionary of Musical Instruments | year = 1984 | page = 391 | publisher = Macmillan Press | isbn = 978-0-943818-05-4}}{{Volume needed|date=November 2010}}</ref> and spans just over an octave (from written B above middle C (B₄) to the C two octaves above middle C (C₆));<ref name="lowry" /> it is the dominant range for most members of the clarinet family. * The top or ''[[altissimo]]'' register consists of the notes above the written C two octaves above middle C (C₆).<ref name="lowry" /> All three registers have characteristically different sounds. The chalumeau register is rich and dark. The clarion register is brighter and sweet, like a trumpet (''clarion'') heard from afar. The altissimo register can be piercing and sometimes shrill. ===Acoustics=== [[File:Sound wave propagation in the soprano clarinet.jpg|thumb|Sound wave propagation in the soprano clarinet]] [[Sound]] is a [[wave]] that propagates through the air as a result of a local variation in [[air pressure]]. The production of sound by a clarinet follows these steps:<ref name="physics">[http://www.phys.unsw.edu.au/~jw/clarinetacoustics.html#pipe Acoustics of the Clarinet] University of New South Wales.</ref> # The mouthpiece and reed are surrounded by the player's lips, which put light, even pressure on the reed and form an airtight seal. Air is blown past the reed and down the instrument. In the same way a flag flaps in the breeze, the air rushing past the reed causes it to vibrate. As air pressure from the mouth increases, the amount the reed vibrates increases until the reed hits the mouthpiece.<br>At this point, the reed stays pressed against the mouthpiece until either the springiness of the reed forces it to open or a returning pressure wave 'bumps' into the reed and opens it. Each time the reed opens, a puff of air goes through the gap, after which the reed swings shut again. When played loudly, the reed can spend up to 50% of the time shut.<ref>{{cite journal | last1 = Backus | first1 = J | year = 1961 | title = Vibrations of the Reed and the Air Column in the Clarinet | url = | journal = The Journal of the Acoustical Society of America | volume = 33 | issue = 6| pages = 806–809 | doi = 10.1121/1.1908803 | bibcode = 1961ASAJ...33..806B }}</ref> The 'puff of air' or [[compression wave]] (around 3% greater pressure than the surrounding air<ref name="physics"/>) travels down the cylindrical tube and escapes at the point where the tube opens out. This is either at the closest open hole or at the end of the tube (see diagram: image 1). # More than a 'neutral' amount of air escapes from the instrument, which creates a slight vacuum or [[rarefaction]] in the clarinet tube. This rarefaction wave travels back up the tube (image 2). # The rarefaction is reflected off the sloping end wall of the clarinet mouthpiece. The opening between the reed and the mouthpiece makes very little difference to the reflection of the rarefaction wave. This is because the opening is very small compared to the size of the tube, so almost the entire wave is reflected back down the tube even if the reed is completely open at the time the wave hits (image 3). # When the rarefaction wave reaches the other (open) end of the tube, air rushes in to fill the slight vacuum. A little more than a 'neutral' amount of air enters the tube and causes a compression wave to travel back up the tube (image 4). Once the compression wave reaches the mouthpiece end of the 'tube', it is reflected again back down the pipe. However at this point, either because the compression wave 'bumped' the reed or because of the natural vibration cycle of the reed, the gap opens and another 'puff' of air is sent down the pipe. # The original compression wave, now greatly reinforced by the second 'puff' of air, sets off on another two trips down the pipe (travelling 4 pipe lengths in total) before the cycle is repeated again. The cycle repeats at a frequency relative to how long it takes a wave to travel to the first open hole and back twice (i.e. four times the length of the pipe). For example: when all the holes bar the very top one are open (i.e. the trill 'B' key is pressed), the note [[A440 (pitch standard)|A4]] (440 [[Hertz|Hz]]) is produced. This represents a repeat of the cycle 440 times per second.<ref>{{cite web|url=http://www.wam.hr/Arhiva/US/Cavanagh_440Hz.pdf|archiveurl=https://web.archive.org/web/20060104221535/http://www.wam.hr/Arhiva/US/Cavanagh_440Hz.pdf|archivedate=2006-01-04|title=A brief history of the establishment of international standard pitch a=440 hertz|last=Cavanagh|first=Lynn|accessdate=2009-07-20}}</ref> In addition to this primary compression wave, other waves, known as [[harmonics]], are created. Harmonics are caused by factors including the imperfect wobbling and shaking of the reed, the reed sealing the mouthpiece opening for part of the wave cycle (which creates a flattened section of the sound wave), and imperfections (bumps and holes) in the bore. A wide variety of compression waves are created, but only some (primarily the odd harmonics) are reinforced. These extra waves are what gives the clarinet its characteristic tone.<ref>{{cite journal | last1 = Barthet | first1 = M. | last2 = Guillemain | first2 = P. | last3 = Kronland-Martinet | first3 = R. | last4 = Ystad | first4 = S. | year = 2010 | title = From clarinet control to timbre perception | url = | journal = Acta Acustica United with Acustica | volume = 96 | issue = 4| pages = 678–689 |doi=10.3813/AAA.918322}}</ref> The [[Bore (wind instruments)|bore]] is [[Cylinder|cylindrical]] for most of the tube with an inner bore diameter between {{convert|14|and|15.5|mm|in}}, but there is a subtle [[hourglass]] shape, with the thinnest part below the junction between the upper and lower joint.<ref name="baines">Baines, Anthony (1991). ''Woodwind instruments and their history''. Dover. {{ISBN|0486268853}}</ref> The reduction is {{convert|1|to|3|mm|in}} depending on the maker. This hourglass shape, although invisible to the naked eye, helps to correct the pitch/scale discrepancy between the chalumeau and clarion registers (perfect [[Twelfth (interval)|twelfth]]).<ref name="baines"/> The diameter of the bore affects characteristics such as available [[harmonic]]s, [[timbre]], and pitch stability (how far the player can bend a note in the manner required in jazz and other music). The bell at the bottom of the clarinet flares out to improve the tone and tuning of the lowest notes. Most modern clarinets have "undercut" [[tone hole]]s that improve intonation and sound. Undercutting means [[chamfer]]ing the bottom edge of tone holes inside the bore. Acoustically, this makes the tone hole function as if it were larger, but its main function is to allow the air column to follow the curve up through the tone hole (surface tension) instead of "blowing past" it under the increasingly directional frequencies of the upper registers.<ref>{{cite journal | last1 = Gibson | first1 = Lee | year = 1968 | title = Fundamentals of Acoustical Design of the Soprano Clarinet | doi=10.2307/3391282 | journal = Music Educators Journal | volume = 54 | issue = 6| pages = 113–115 | jstor = 3391282 }}</ref> The fixed reed and fairly uniform diameter of the clarinet give the instrument an acoustical behavior approximating that of a cylindrical [[stopped pipe]].<ref name="physics"/> [[Recorder (musical instrument)|Recorders]] use a tapered internal bore to [[Overblowing|overblow]] at the [[octave]] when the thumb/register hole is pinched open, while the clarinet, with its cylindrical bore, overblows at the [[Twelfth (interval)|twelfth]]. Adjusting the angle of the bore taper controls the frequencies of the overblown notes (harmonics).<ref name="physics"/> Changing the mouthpiece's tip opening and the length of the reed changes aspects of the harmonic timbre or voice of the clarinet because this changes the speed of reed vibrations.<ref name="physics"/> Generally, the goal of the clarinetist when producing a sound is to make as much of the reed vibrate as possible, making the sound fuller, warmer, and potentially louder. The lip position and pressure, shaping of the vocal tract, choice of reed and mouthpiece, amount of air pressure created, and evenness of the airflow account for most of the clarinetist's ability to control the tone of a clarinet.<ref>Almeida, A., Lemare, J., Sheahan, M., Judge, J., Auvray, R., Dang, K. S., Wolfe, J. (2010). [http://newt.phys.unsw.edu.au/jw/reprints/clarinetcartography.pdf "Clarinet parameter cartography: automatic mapping of the sound produced as a function of blowing pressure and reed force"]. In ''Proc. Int. Symp. Music Acoustics''</ref> A highly skilled clarinetist will provide the ideal lip and air pressure for each frequency (note) being produced. They will have an [[embouchure]] which places an even pressure across the reed by carefully controlling their lip muscles. The airflow will also be carefully controlled by using the strong stomach muscles (as opposed to the weaker and erratic chest muscles) and they will use the diaphragm to oppose the stomach muscles to achieve a tone softer than a forte rather than weakening the stomach muscle tension to lower air pressure.<ref>[http://www.tcnj.edu/~mckinney/breathing.htm BREATHING]. Tcnj.edu. 2013.</ref> Their vocal tract will be shaped to resonate at frequencies associated with the tone being produced. Covering or uncovering the tone holes varies the length of the pipe, changing the [[acoustic resonance|resonant frequencies]] of the enclosed air column and hence the [[Pitch (music)|pitch]].<ref name="physics"/> A clarinetist moves between the chalumeau and clarion registers through use of the [[register key]]; clarinetists call the change from chalumeau register to clarion register "the break".<ref name="pinksterboer"/> The open register key stops the fundamental frequency from being reinforced, and the reed is forced to vibrate at three times the speed it was originally. This produces a note a twelfth above the original note. Most instruments [[overblow]] at two times the speed of the fundamental frequency (the octave), but as the clarinet acts as a closed pipe system, the reed cannot vibrate at twice its original speed because it would be creating a 'puff' of air at the time the previous 'puff' is returning as a rarefaction. This means it cannot be reinforced and so would die away. The chalumeau register plays fundamentals, whereas the clarion register, aided by the register key, plays third harmonics (a perfect twelfth higher than the fundamentals). The first several notes of the altissimo range, aided by the register key and venting with the first left-hand hole, play fifth harmonics (a major seventeenth, a perfect twelfth plus a major sixth, above the fundamentals). The clarinet is therefore said to overblow at the twelfth and, when moving to the altissimo register, seventeenth. By contrast, nearly all other woodwind instruments overblow at the octave or (like the [[ocarina]] and [[tonette]]) do not overblow at all. A clarinet must have holes and keys for nineteen notes, a chromatic octave and a half from bottom E to B{{music|flat}}, in its lowest register to play the chromatic scale. This overblowing behavior explains the clarinet's great [[Range (music)|range]] and complex [[Fingering (music)|fingering system]]. The fifth and seventh harmonics are also available, sounding a further [[Interval (music)|sixth]] and [[Fourth (interval)|fourth]] (a flat, diminished fifth) higher respectively; these are the notes of the altissimo register.<ref name="physics" /> This is also why the inner "waist" measurement is so critical to these harmonic frequencies. The highest notes can have a shrill, piercing quality and can be difficult to tune accurately. Different instruments often play differently in this respect due to the sensitivity of the bore and reed measurements. Using alternate fingerings and adjusting the embouchure helps correct the pitch of these notes. Since approximately 1850, clarinets have been nominally tuned according to twelve-tone [[equal temperament]]. Older clarinets were nominally tuned to [[meantone]]. Skilled performers can use their [[embouchure]]s to considerably alter the tuning of individual notes or produce [[vibrato]], a pulsating change of pitch often employed in [[jazz]].<ref>{{cite journal|last=Drushler|first=P|year=1978|title=The clarinet vibrato|journal=Woodwind Anthology|location=Illinois}}</ref> [[Vibrato]] is rare in classical or concert band literature; however, certain clarinetists, such as [[Richard Stoltzman]], use vibrato in classical music. Special fingerings may be used to play [[quarter tone]]s and other [[Microtonal music|microtonal]] intervals.<ref>[[#Lawson|Lawson]], pp. 174–175</ref> Around 1900, Dr. Richard H. Stein, a [[Berlin]] musicologist, made a quarter-tone clarinet, which was soon abandoned.<ref name="jl">{{cite web|last=Zakian|first=Lee|title=The Clarinet History|url=http://www.jlpublishing.com/ClarinetHistory.htm|publisher=JL Publishing}}</ref><ref>{{cite book|last=Richards|first=Michael|title=The Clarinet of the Twenty-First Century|chapter-url=http://userpages.umbc.edu/~emrich/chapter2-5.html|chapter=2. Single Sounds}}</ref> Years later, another German, Fritz Schüller of [[Markneukirchen]], built a [[quarter tone clarinet]], with two parallel bores of slightly different lengths whose tone holes are operated using the same keywork and a valve to switch from one bore to the other. [[File:QuartertoneClarinet.jpg|thumb|150px|left|Schüller's quarter-tone clarinet]] ==Construction== [[File:Clarinet construction.JPG|right|thumb|350px|The construction of a clarinet ([[Oehler system]])]] ===Materials=== Clarinet bodies have been made from a variety of materials including wood, plastic, [[ebonite|hard rubber]], metal, [[resin]], and [[ivory]].<ref>[[#Rendall|Rendall]], pp. 11–15</ref> The vast majority of clarinets used by professionals are made from [[Africa]]n [[hardwood]], [[African Blackwood|mpingo (African Blackwood)]] or [[grenadilla]], rarely (because of diminishing supplies) [[Rosewood (timber)|Honduran rosewood]], and sometimes even [[cocobolo]].<ref name="jenkins">{{cite web|url=http://www.globaltrees.org/downloads/IntTradeAfBWood.pdf|archiveurl=https://web.archive.org/web/20040727100718/http://www.globaltrees.org/downloads/IntTradeAfBWood.pdf|archivedate=2004-07-27|title=International Trade in African Blackwood|last=Jenkins|first=Martin |author2=Sara Oldfield |author3=Tiffany Aylett|year=2002|publisher=Fauna & Flora International|accessdate=2009-07-19}}</ref> Historically other woods, notably [[Buxus|boxwood]], were used.<ref name="jenkins" /> Most inexpensive clarinets are made of plastic resin, such as [[Acrylonitrile butadiene styrene|ABS]].<ref name="jenkins" /> ''Resonite'' is [[The Selmer Company|Selmer]]'s [[trademark]] name for its type of plastic. Metal soprano clarinets were popular in the early 20th century until plastic instruments supplanted them;<ref>{{cite web|url=http://www.silver-clarinet.com/|title=The Silver Clarinet Story|accessdate=2009-07-19}}</ref> metal construction is still used for the bodies of some contra-alto and contrabass clarinets and the necks and bells of nearly all alto and larger clarinets.<ref>[[#Lawson|Lawson]], p. 74</ref> Ivory was used for a few 18th-century clarinets, but it tends to crack and does not keep its shape well.<ref name="hoeprich"/> [[Buffet Crampon]]'s Greenline clarinets are made from a composite of grenadilla wood powder and carbon fiber.<ref>{{cite web | url = http://www.buffet-crampon.com/en/instruments.php?mode=productDetails&pid=108 | archive-url = https://web.archive.org/web/20070927102000/http://www.buffet-crampon.com/en/instruments.php?mode=productDetails&pid=108 | url-status = dead | archive-date = 2007-09-27 | title = Greenline Clarinets | publisher = Buffet Crampon | accessdate = 2007-03-16}}</ref> Such clarinets are less affected by humidity and temperature changes than wooden instruments but are heavier. Hard rubber, such as [[ebonite]], has been used for clarinets since the 1860s, although few modern clarinets are made of it. Clarinet designers Alastair Hanson and Tom Ridenour are strong advocates of hard rubber.<ref>{{cite web | title = Materials | url = http://www.hansonclarinets.com/clarinet%20making/Materials.html | archiveurl = https://web.archive.org/web/20120828054720/http://www.hansonclarinets.com/clarinet%20making/Materials.html | archivedate = 2012-08-28 | publisher = Hanson Clarinets | accessdate = 2007-06-22}}</ref><ref> {{cite web | title = The Grenadilla Myth | last = Ridenour | first = Tom | url = http://www.ridenourclarinetproducts.com/grenadillamyth.htm | archiveurl = https://web.archive.org/web/20070615181150/http://www.ridenourclarinetproducts.com/grenadillamyth.htm | archivedate = 2007-06-15 | accessdate = 2007-03-16}}</ref> The [[Hanson Clarinet Company]] manufactures clarinets using a grenadilla compound reinforced with ebonite, known as ''BTR'' (bithermal-reinforced) grenadilla. This material is also not affected by humidity, and the weight is the same as that of a wooden clarinet. [[Mouthpiece (woodwind)|Mouthpieces]] are generally made of hard rubber, although some inexpensive mouthpieces may be made of plastic. Other materials such as crystal/glass, wood, ivory, and metal have also been used.<ref>[[#Pino|Pino]], p. 200</ref> [[Ligature (musical instrument)|Ligatures]] are often made of metal and plated in nickel, silver, or gold. Other materials include wire, wire mesh, plastic, [[naugahyde]], string, or leather.<ref name="pinksterboer">{{cite book|last=Pinksterboer|first=Hugo|title=Tipbook Clarinet|publisher=Hal Leonard Corporation|year=2001|isbn=978-1-85828-753-9|url=https://archive.org/details/roughguidetoclar00hugo}}</ref> ===Reed=== The clarinet uses a single [[reed (instrument)|reed]] made from the cane of ''[[Arundo donax]]'', a type of grass.<ref>{{cite journal|author=Obataya E|author2= Norimoto M.|title=Acoustic properties of a reed (''Arundo donax'' L.) used for the vibrating plate of a clarinet|journal=J. Acoust. Soc. Am.|volume =106|issue =2|pages=1106–1110 |url=https://www.researchgate.net/publication/243524477|date=August 1999|doi=10.1121/1.427118|bibcode= 1999ASAJ..106.1106O}}</ref> Reeds may also be manufactured from synthetic materials. The [[ligature (musical instrument)|ligature]] fastens the reed to the mouthpiece. When air is blown through the opening between the reed and the mouthpiece facing, the reed vibrates and produces the clarinet's sound. Basic reed measurements are as follows: tip, {{convert|12|mm|in}} wide; lay, {{convert|15|mm|in}} long (distance from the place where the reed touches the mouthpiece to the tip); gap, {{convert|1|mm|in}} (distance between the underside of the reed tip and the mouthpiece). Adjustment to these measurements is one method of affecting tone color.<ref name="baines"/> Most clarinetists buy manufactured reeds, although many make adjustments to these reeds, and some make their own reeds from cane "blanks".<ref name="intravaia">{{cite journal|doi=10.2307/3344436|last=Intravaia|first=Lawrence J|author2=Robert S. Resnick|date=Spring 1968|title=A Research Study of a Technique for Adjusting Clarinet Reeds|journal=Journal of Research in Music Education|publisher=MENC|volume=16|issue=1|pages=45–58|jstor=3344436}}</ref> Reeds come in varying degrees of hardness, generally indicated on a scale from one (soft) through five (hard). This numbering system is not standardized—reeds with the same number often vary in hardness across manufacturers and models.<ref name="pinksterboer"/> Reed and mouthpiece characteristics work together to determine ease of playability, pitch stability, and tonal characteristics.<ref name="pinksterboer"/> ===Components=== Note: A [[Böhm system (clarinet)|Böhm system]] soprano clarinet is shown in the photos illustrating this section. However, all modern clarinets have similar components. [[File:Selmer-clarinet-mouthpiece-reed-and-vandoren-ligature.jpg|thumb|200px|left|Clarinet [[Reed (music)|reed]], [[Mouthpiece (woodwind)|mouthpiece]], and [[Vandoren]] [[Ligature (musical instrument)|ligature]]]] The ''[[Reed (music)|reed]]'' is attached to the ''[[Mouthpiece (woodwind)|mouthpiece]]'' by the ''[[Ligature (musical instrument)|ligature]]'', and the top half-inch or so of this assembly is held in the player's mouth. In the past, clarinetists used to wrap a string around the mouthpiece and reed instead of using a ligature. The formation of the mouth around the mouthpiece and reed is called the ''[[embouchure]]''. {{listen|filename=ClarinetReed.ogg|title=B{{music|b}} Clarinet reed and mouthpiece|description=|format=[[Ogg]]}} The reed is on the underside of the mouthpiece, pressing against the player's lower lip, while the top teeth normally contact the top of the mouthpiece (some players roll the upper lip under the top teeth to form what is called a 'double-lip' embouchure).<ref>[[#Pino|Pino]], p. 59</ref> Adjustments in the strength and shape of the embouchure change the tone and intonation (tuning). It is not uncommon for clarinetists to employ methods to relieve the pressure on the upper teeth and inner lower lip by attaching pads to the top of the mouthpiece or putting (temporary) padding on the front lower teeth, commonly from folded paper.<ref>[[#Pino|Pino]], p. 38</ref> [[File:Buffet-R13-Clarinet-barrel.jpg|thumb|200px|right|Barrel of a B{{music|flat}} soprano clarinet]] Next is the short ''barrel''; this part of the instrument may be extended to fine-tune the clarinet. As the pitch of the clarinet is fairly temperature-sensitive, some instruments have interchangeable barrels whose lengths vary slightly. Additional compensation for pitch variation and tuning can be made by pulling out the barrel and thus increasing the instrument's length, particularly common in group playing in which clarinets are tuned to other instruments (such as in an [[orchestra]] or [[concert band]]). Some performers use a plastic barrel with a thumbwheel that adjusts the barrel length. On basset horns and lower clarinets, the barrel is normally replaced by a curved metal neck. [[File:Buffet-R13-Clarinet-upper-joint.jpg|thumb|200px|left|Upper joint of a Boehm system clarinet]] The main body of most clarinets is divided into the ''upper joint'', the holes and most keys of which are operated by the left hand, and the ''lower joint'' with holes and most keys operated by the right hand. Some clarinets have a single joint: on some basset horns and larger clarinets the two joints are held together with a screw clamp and are usually not disassembled for storage. The left thumb operates both a ''tone hole'' and the ''register key''. On some models of clarinet, such as many [[Albert system]] clarinets and increasingly some higher-end Böhm system clarinets, the register key is a 'wraparound' key, with the key on the back of the clarinet and the pad on the front. Advocates of the wraparound register key say it improves sound, and it is harder for moisture to accumulate in the tube beneath the pad.<ref>[https://web.archive.org/web/20090411230550/http://www.the-clarinets.net/clarinet-bore.html "The bore"]. the-clarinets.net</ref> Nevertheless, there is a consensus among repair techs that this type of register key is harder to keep in adjustment, i.e., it is hard to have enough spring pressure to close the hole securely.<ref>[https://web.archive.org/web/20120305003139/http://www.clarinetpages.net/vintage-odd-brands/what-s-my-french-stencil-clarinet-worth What's my French stencil clarinet worth?] clarinetpages.net</ref> The body of a modern soprano clarinet is equipped with numerous ''[[tone hole]]s'' of which seven (six front, one back) are covered with the fingertips, and the rest are opened or closed using a set of keys. These tone holes let the player produce every note of the chromatic scale. On alto and larger clarinets, and a few soprano clarinets, key-covered holes replace some or all finger holes. The most common system of keys was named the [[Böhm system]] by its designer [[Hyacinthe Klosé]] in honour of [[flute]] designer [[Theobald Böhm]], but it is not the same as the [[Böhm system]] used on flutes.<ref name="ridley">{{cite journal|doi=10.2307/842134|last=Ridley|first=E.A.K.|date=September 1986|title=Birth of the 'Böhm' Clarinet|journal=The Galpin Society Journal|volume=39|pages=68–76|jstor=842134}}</ref> The other main system of keys is called the [[Oehler system]] and is used mostly in Germany and Austria (see [[clarinet#History|History]]).<ref>[[#Lawson|Lawson]], p. 27-28</ref> The related Albert system is used by some [[jazz]], [[klezmer]], and eastern European folk musicians.<ref>[[#Lawson|Lawson]], p. 31</ref> The Albert and Oehler systems are both based on the early [[Ivan Mueller|Mueller system]]. [[File:Buffet-R13-Clarinet-lower-joint.jpg|thumb|200px|right|Lower joint of a Boehm system clarinet]] The cluster of keys at the bottom of the upper joint (protruding slightly beyond the cork of the joint) are known as the ''trill keys'' and are operated by the right hand.<ref name="pinksterboer"/> These give the player alternative fingerings that make it easy to play ornaments and [[trill (music)|trills]].<ref name="pinksterboer"/> The entire weight of the smaller clarinets is supported by the right thumb behind the lower joint on what is called the ''thumb-rest''.<ref>{{cite journal|last=Horvath|first=Janet|date=September 2001|title=An Orchestra Musician's Perspective on 20 Years of Performing Arts Medicine|journal=Medical Problems of Performing Artists|volume=16|issue=3|page=102}}</ref> Basset horns and larger clarinets are supported with a neck strap or a floor peg. [[File:Buffet-R13-Clarinet-bell.jpg|thumb|200px|left|Bell of a B{{music|flat}} soprano clarinet]] Finally, the flared end is known as the ''bell''. Contrary to popular belief, the bell does not amplify the sound; rather, it improves the uniformity of the instrument's tone for the lowest notes in each register.<ref name="physics"/> For the other notes, the sound is produced almost entirely at the tone holes, and the bell is irrelevant.<ref name="physics"/> On [[Basset-horn|basset horns]] and larger clarinets, the bell curves up and forward and is usually made of metal.<ref>[[#Lawson|Lawson]], p. 59</ref> ===Keywork=== Theobald Böhm did not directly invent the key system of the clarinet. Böhm was a flautist who created the key system that is now used for the transverse flute. Klosé and Buffet applied Böhm's system to the clarinet. Although the credit goes to those people, Böhm's name was given to that key system because it was based on that used for the flute.<ref>[[#Pino|Pino]], p. 210</ref> The current Böhm key system consists of generally 6 rings, on the thumb, 1st, 2nd, 4th, 5th, and 6th holes, and a register key just above the thumb hole, easily accessible with the thumb. Above the 1st hole, there is a key that lifts two covers creating the note A in the throat register (high part of low register) of the clarinet. A key at the side of the instrument at the same height as the A key lifts only one of the two covers, producing G{{music|#}}, a semitone lower. The A key can be used in conjunction solely with the register key to produce A{{music|#}}/B{{music|b}}. ==History== ===Lineage=== The clarinet has its roots in the early [[single-reed instrument]]s or [[Hornpipe (musical instrument)|hornpipes]] used in [[Ancient Greece]], [[Ancient Egypt]],<ref>[http://www.the-clarinets.net/english/clarinet-history.html Origin of the clarinet], the-clarinets.net</ref> [[Middle East]], and [[Europe]] since the [[Middle Ages]], such as the [[albogue]], [[alboka]], and [[double clarinet]].<ref>[[#Lawson|Lawson]], pp. 14–15</ref> The modern clarinet developed from a [[Baroque music|Baroque]] instrument called the [[chalumeau]]. This instrument was similar to a [[Recorder (musical instrument)|recorder]], but with a [[Single-reed instrument|single-reed]] mouthpiece and a cylindrical bore.<ref name="karp" /> Lacking a [[register key]], it was played mainly in its fundamental register, with a limited range of about one and a half octaves.<ref name="karp">{{cite journal|doi=10.1093/earlyj/14.4.545|last=Karp|first=Cary|s2cid=191976173|year=1986|title=The early history of the clarinet and chalumeau|journal=Early Music|publisher=Oxford University Press|volume=14|issue=4|pages=545–551}}</ref> It had eight finger holes, like a recorder, and two keys for its two highest notes.<ref name="karp" /> At this time, contrary to modern practice, the reed was placed in contact with the upper lip.<ref name="karp" /> 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 German instrument maker [[Johann Christoph Denner]], though some have suggested his son Jacob Denner was the inventor.<ref>{{cite journal | last1 = Hoeprich | first1 = T Eric | year = 1981 | title = A Three-Key Clarinet by J.C. Denner | url = http://woodwindsresourcefile.weebly.com/uploads/1/4/0/3/14034613/a_three-key_clarinet.pdf | journal = The Galpin Society Journal | volume = 34 | jstor=841468 | pages = 21–32 | doi=10.2307/841468}}</ref> This instrument played well in the middle register with a loud, shrill sound, so it was given the name ''clarinetto'' meaning "little trumpet" (from ''clarino'' + ''-etto''). Early clarinets did not play well in the lower register, so players continued to play the chalumeaux for low notes.<ref name="karp" /> As clarinets improved, the chalumeau fell into disuse, and these notes became known as the ''chalumeau register''. Original Denner clarinets had two keys, and could play a [[chromatic scale]], but various makers added more keys to get improved tuning, easier fingerings, and a slightly larger range.<ref name="karp" /> The classical clarinet of [[Wolfgang Amadeus Mozart|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 numerous pieces for the instrument.,<ref name="hacker">{{cite journal|author=Hacker, Alan|title=Mozart and the Basset Clarinet|journal=The Musical Times|volume=110|issue=1514 |date=April 1969|pages=359–362|doi=10.2307/951470|jstor=951470}}</ref> and by the time of [[Ludwig van Beethoven|Beethoven]] (c. 1800–1820), the clarinet was a standard fixture in the orchestra. ===Pads=== {{multiple image | align = right | total_width = 400 | image1 = Leitner+Kraus 410.jpg | alt1 = | caption1 = French Clarinet (Original Boehm with 17 keys and 6 Rings, developed in 1843) | image2 = Leitner+Kraus 320.jpg | alt2 = | caption2 = German Clarinet (Original Oehler with 22 keys, 5 rings and one cap, developed in 1905) | image3 = Leitner+Kraus 420o.jpg| | alt3 = | caption3 = Reform-Boehm-Clarinet (with 20 keys and 7 rings, developed in 1949) | image4 = Clarinet 4 key anon Bate.jpg | alt4 = | caption4 = Early Clarinet with 4 keys (ar. 1760) | footer = }} The next major development in the history of clarinet was the invention of the modern pad.<ref name="bray">{{cite web|url=http://hem.passagen.se/eriahl/history.htm|archiveurl=https://web.archive.org/web/20030202235101/http://hem.passagen.se/eriahl/history.htm|archivedate=2003-02-02|title=The clarinet history|last=Bray|first=Erin|date=2004-11-16|work=The clarinet family|accessdate=2009-07-20}}</ref> Because early clarinets used felt pads to cover the tone holes, they leaked air. This required pad-covered holes to be kept to a minimum, restricting the number of notes the clarinet could play with good tone.<ref name="bray"/> In 1812, [[Iwan Müller]], a Baltic German community-born clarinetist and inventor, developed a new type of pad that was covered in [[leather]] or [[Gas bladder|fish bladder]].<ref name="jl"/> It was airtight and let makers increase the number of pad-covered holes. Müller designed a new type of clarinet with seven finger holes and thirteen keys.<ref name="jl"/> This allowed the instrument to play in any key with near-equal ease. Over the course of the 19th-century, makers made many enhancements to Müller's clarinet, such as the [[Albert system]] and the Baermann system, all keeping the same basic design. Modern instruments may also have cork or synthetic pads.<ref>[http://www.newschoolofmusic.com/music-instruments/about-woodwind-instruments/clarinet-lessons/ Clarinet Lessons and Rentals in Buford, Dunwoody and Lilburn GA]. Newschoolofmusic.com. Retrieved on 2015-05-12.</ref> ===Arrangement of keys and holes=== {{Main|Albert system|Boehm system (clarinet)|Reform Boehm system (clarinet)|Oehler system}} The final development in the modern design of the clarinet used in most of the world today was introduced by [[Hyacinthe Klosé]] in 1839.<ref name="böhm">{{cite journal|author=Ridley, E. A. K. |title=Birth of the 'Boehm' Clarinet|jstor=842134|journal=The Galpin Society Journal|volume=39|date=September 1986|pages=68–76|doi=10.2307/842134}}</ref> He devised a different arrangement of keys and finger holes, which allow simpler fingering. It was inspired by the [[Boehm system]] developed for flutes by [[Theobald Böhm]]. Klosé was so impressed by Böhm's invention that he named his own system for clarinets the [[Boehm system (clarinet)|Boehm system]], although it is different from the one used on flutes.<ref name="böhm" /> This new system was slow to gain popularity but gradually 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.<ref>[[#Pino|Pino]], p. 212</ref><ref>{{cite book|title=The Clarinet|author=Rendall, FG|edition=3rd|publisher=E. Benn|year=1971|page=105}}</ref> Also, some contemporary Dixieland players continue to use [[Albert system]] clarinets.<ref>[[#Lawson|Lawson]], pp. 31, 189</ref> Other key systems have been developed, many built around modifications to the basic Böhm system: Full Böhm,<ref>[http://www.thevintageclarinetdoctor.com/-fingering-systems.html Full Böhm System Clarinet]</ref> Mazzeo,<ref>{{Cite patent|US|2867146}}</ref> McIntyre,<ref>{{cite web |title = McIntyre System Clarinet |url = http://www.uark.edu/ua/nc/NCCollectionPage/Page/McIntyre.htm |publisher = NC Clarinet Collection |accessdate = 2016-08-17 |archive-url = https://archive.is/20121212220238/http://www.uark.edu/ua/nc/NCCollectionPage/Page/McIntyre.htm |archive-date = 2012-12-12 |url-status = dead }} Includes images of booklet and fingering chart.</ref> Benade NX,<ref>{{cite journal | last = Benade | first = Arthur H. |author2=Keefe, Douglas H. | s2cid = 125182402 | title = The Physics of a New Clarinet Design | journal = The Galpin Society Journal | volume = 49 | date = March 1996 | pages = 113–142 | doi = 10.2307/842396 | jstor = 842396 }} </ref> and the [[Reform Boehm system (clarinet)|Reform Boehm system]] <ref>{{cite web |url = https://wurlitzerklarinetten.de/?lang=en |title = Wurlitzer Clarinets |accessdate = 2019-08-23 }}</ref> for example. Each of these addressed—and often improved—issues of particular "weak" tones, or simplified awkward fingerings, but none has caught on widely among players, and the Boehm system remains the standard, to date. ==Usage and repertoire== ===Use of multiple clarinets=== The modern [[orchestra]]l standard of using soprano clarinets in B{{music|flat}} and A has to do partly with the history of the instrument and partly with acoustics, aesthetics, and economics. Before about 1800, due to the lack of airtight pads ''(see [[#History|History]])'', practical woodwinds could have only a few keys to control accidentals (notes outside their diatonic home scales).<ref name="bray"/> The low (chalumeau) register of the clarinet spans a twelfth (an octave plus a perfect fifth), so the clarinet needs keys/holes to produce all nineteen notes in this range. This involves more keywork than on instruments that "overblow" at the octave—[[oboe]]s, [[flute]]s, [[bassoon]]s, and [[saxophone]]s, for example, which need only twelve notes before overblowing. Clarinets with few keys cannot therefore easily play chromatically, limiting any such instrument to a few closely related keys.<ref name="longyear" /> For example, an eighteenth-century clarinet in C could be played in F, C, and G (and their relative minors) with good intonation, but with progressive difficulty and poorer intonation as the key moved away from this range.<ref name="longyear">{{cite journal | last1 = Longyear | first1 = RM | year = 1983 | title = Clarinet Sonorities in Early Romantic Music |jstor=962035| url = http://jeremywoodwindsresourcefile.weebly.com/uploads/2/3/8/2/23826031/clarinet_sonorities_in_early_romantic_music.pdf | journal = The Musical Times | volume = 124 | issue = 1682| pages = 224–226 | doi=10.2307/962035}}</ref> In contrast, for octave-overblowing instruments, an instrument in C with few keys could much more readily be played in any key. This problem was overcome by using three clarinets—in A, B{{music|flat}}, and C—so that early 19th-century music, which rarely strayed into the remote keys (five or six sharps or flats), could be played as follows: music in 5 to 2 sharps (B major to D major concert pitch) on A clarinet (D major to F major for the player), music in 1 sharp to 1 flat (G to F) on C clarinet, and music in 2 flats to 4 flats (B{{music|flat}} to A{{music|flat}}) on the B{{music|flat}} clarinet (C to B{{music|flat}} for the clarinetist). Difficult key signatures and numerous accidentals were thus largely avoided. With the invention of the airtight pad, and as key technology improved and more keys were added to woodwinds, the need for clarinets in multiple keys was reduced.<ref name="Lawson, p. 25">[[#Lawson|Lawson]], p. 25</ref> However, the use of multiple instruments in different keys persisted, with the three instruments in C, B{{music|flat}}, and A all used as specified by the composer. The lower-pitched clarinets sound "mellower" (less bright), and the C clarinet—being the highest and therefore brightest of the three—fell out of favour as the other two could cover its range and their sound was considered better.<ref name="longyear"/> While the clarinet in C began to fall out of general use around 1850, some composers continued to write C parts after this date, e.g., [[Georges Bizet|Bizet]]'s [[Symphony in C (Bizet)|Symphony in C]] (1855), [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s [[Symphony No. 2 (Tchaikovsky)|Symphony No. 2]] (1872), [[Bedřich Smetana|Smetana]]'s overture to ''[[The Bartered Bride]]'' (1866) and ''[[Má vlast|Má Vlast]]'' (1874), [[Antonín Dvořák|Dvořák's]] ''[[Slavonic Dances|Slavonic Dance]]'' Op. 46, No. 1 (1878), [[Johannes Brahms|Brahms]]' [[Symphony No. 4 (Brahms)|Symphony No.&nbsp;4]] (1885), [[Gustav Mahler|Mahler's]] [[Symphony No. 6 (Mahler)|Symphony No. 6]] (1906), and [[Richard Strauss]] deliberately reintroduced it{{clarify|date=August 2015}}<!--Does this mean he had stopped using it earlier, or that no one at all had used it for a long time until Strauss used it in Rosenkavalier?--> to take advantage of its brighter tone, as in ''[[Der Rosenkavalier]]'' (1911).<ref>[[#Lawson|Lawson]], pp. 42, 63</ref> While technical improvements and an equal-tempered scale reduced the need for two clarinets, the technical difficulty of playing in remote keys persisted, and the A has thus remained a standard orchestral instrument. In addition, by the late 19th century, the orchestral clarinet repertoire contained so much music for clarinet in A that the disuse of this instrument was not practical.<ref name="Lawson, p. 25"/> Attempts were made to standardise to the B{{music|flat}} instrument between 1930 and 1950 (e.g., tutors recommended learning routine transposition of orchestral A parts on the B{{music|flat}} clarinet, including solos written for A clarinet, and some manufacturers provided a low E{{music|flat}} on the B{{music|flat}} to match the range of the A), but this failed in the orchestral sphere. Similarly there have been E{{music|flat}} and D instruments in the upper soprano range, B{{music|flat}}, A, and C instruments in the bass range, and so forth; but over time the E{{music|flat}} and B{{music|flat}} instruments have become predominant.<ref name="cambridge">[[#Lawson|Lawson]]</ref> The B{{music|flat}} instrument remains dominant in concert bands and jazz. B{{music|flat}} and C instruments are used in some ethnic traditions, such as [[klezmer]]. ===Classical music=== In [[classical music]], clarinets are part of standard [[orchestra]]l and [[concert band]] instrumentation. The orchestra frequently includes two clarinetists playing individual parts—each player is usually equipped with a pair of standard clarinets in B{{music|flat}} and A, and clarinet parts commonly alternate between B{{music|flat}} and A instruments several times over the course of a piece, or less commonly, a movement (e.g., 1st movement [[Symphony No. 3 (Brahms)|Brahms' 3rd symphony]]).<ref name="anatomy">{{cite book |last=Del Mar |first=Norman |title=Anatomy of the Orchestra |publisher=University of California Press |location=Berkeley |year=1983 |isbn=978-0520045002 }}</ref> Clarinet sections grew larger during the last few decades of the 19th century, often employing a third clarinetist, an E{{music|flat}} or a bass clarinet. In the 20th century, composers such as [[Igor Stravinsky]], [[Richard Strauss]], [[Gustav Mahler]], and [[Olivier Messiaen]] enlarged the clarinet section on occasion to up to nine players, employing many different clarinets including the E{{music|flat}} or D soprano clarinets, [[Basset-horn|basset horn]], [[alto clarinet]], [[bass clarinet]], and/or [[contrabass clarinet]]. In concert bands, clarinets are an important part of the instrumentation. The E{{music|flat}} clarinet, B{{music|flat}} clarinet, alto clarinet, bass clarinet, and contra-alto/contrabass clarinet are commonly used in concert bands. Concert bands generally have multiple B{{music|flat}} clarinets; there are commonly 3 B{{music|flat}} clarinet parts with 2–3 players per part. There is generally only one player per part on the other clarinets. There are not always E{{music|flat}} clarinet, alto clarinet, and contra-alto clarinets/contrabass clarinet parts in concert band music, but all three are quite common. {{listen|filename=Contrabass Clarinet - Fragment from 'Late Spring'.ogg|title=Tudor Tulok – Fragment from 'Late Spring'|description=|format=[[Ogg]]}} This practice of using a variety of clarinets to achieve coloristic variety was common in [[20th-century classical music]] and continues today. However, many clarinetists and conductors prefer to play parts originally written for obscure instruments on B{{music|flat}} or E{{music|flat}} clarinets, which are often of better quality and more prevalent and accessible.<ref name="anatomy"/> The clarinet is widely used as a solo instrument. The relatively late evolution of the clarinet (when compared to other orchestral woodwinds) has left solo repertoire from the [[Classical music era|Classical]] period and later, but few works from the [[Baroque music|Baroque]] era.<ref name="cambridge"/> Many [[clarinet concerto]]s have been written to showcase the instrument, with the concerti by [[Wolfgang Amadeus Mozart|Mozart]], [[Aaron Copland|Copland]], and [[Carl Maria von Weber|Weber]] being well known. Many works of [[chamber music]] have also been written for the clarinet. Common combinations are: {{col-begin}} * Clarinet and piano (including [[clarinet sonata]]s)<ref>{{cite journal |first=Burnet C. |last=Tuthill |title=Sonatas for Clarinet and Piano: Annotated Listings |journal=Journal of Research in Music Education |volume=20 |issue=3 |year=1972 |pages=308–328 |jstor=3343885 |doi=10.2307/3343885}}</ref> * [[Clarinet trio]]; Clarinet, piano, and another instrument (for example, [[string instrument]] or voice)<ref name="cambridge"/> * [[Clarinet choir|Clarinet quartet]]: three B{{music|flat}} clarinets and [[bass clarinet]]; two B{{music|flat}} clarinets, [[alto clarinet]], and bass; and other possibilities such as the use of a [[basset horn]], especially in European classical works.<ref>{{cite journal|doi=10.2307/3343790|last=Weerts|first=Richard K.|date=Autumn 1964|title=The Clarinet Choir|journal=Journal of Research in Music Education|publisher=MENC|volume=12|issue=3|pages=227–230|jstor=3343790}}</ref><ref name="Lawson1995">[[#Lawson|Lawson]], p. 58: "To find a basset horn as part of the instrumentation of a clarinet quartet, quintet, etc., written by a European composer is quite usual, whilst in the USA today's composers rarely use it even in the orchestra."</ref> * [[Clarinet quintet]], generally made up of a clarinet plus a [[string quartet]].<ref>{{cite journal|doi=10.1093/jrma/42.1.89|last=Street|first=Oscar W.|title=The Clarinet and Its Music|journal=Journal of the Royal Musical Association|publisher=Royal Musical Association|year=1915|location=1915|volume=42|issue=1|pages=89–115|url=https://zenodo.org/record/1431795}}</ref> * [[Reed quintet]], consists of oboe (doubling [[English horn]]), clarinet, [[alto saxophone]] (doubling [[soprano saxophone]]), bass clarinet, and bassoon. * [[Wind quintet]], consists of flute, oboe, clarinet, bassoon, and [[French horn|horn]].<ref>Suppan, Wolfgang. 2001. "Wind Quintet." ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.</ref> * [[Trio d'anches]], or ''trio of reeds'' consists of oboe, clarinet, and bassoon.<ref name="costa">Costa, Anthony. "A Bibliography of Chamber Music and Double Concerti Literature for Oboe and Clarinet". [[Ohio State University]]. Dissertation. 2005.</ref> * [[Wind octet]], consists of pairs of oboes, clarinets, bassoons, and horns.<ref name="costa"/> {{col-end}} ===Jazz=== [[File:Pete Fountain 1962.JPG|right|thumb|Jazz clarinetist Pete Fountain]] The clarinet was originally a central instrument in jazz, beginning with the New Orleans players in the 1910s. It remained a signature instrument of jazz music through much of the [[big band]] era into the 1940s.<ref name="cambridge"/> American players [[Alphonse Picou]], [[Larry Shields]], [[Jimmie Noone]], [[Johnny Dodds]], and [[Sidney Bechet]] were all pioneers of the instrument in jazz. The B{{music|flat}} soprano was the most common instrument, but a few early jazz musicians such as [[Louis Nelson Delisle]] and [[Alcide Nunez]] preferred the C soprano, and many New Orleans jazz brass bands have used E{{music|flat}} soprano.<ref name="cambridge"/> Swing clarinetists such as [[Benny Goodman]], [[Artie Shaw]], and [[Woody Herman]] led successful big bands and smaller groups from the 1930s onward.<ref>Schuller, Gunther (1989). ''The swing era''. Oxford University Press. {{ISBN|0195071409}}.</ref> [[Duke Ellington]], active from the 1920s to the 1970s, used the clarinet as lead instrument in his works, with several players of the instrument ([[Barney Bigard]], [[Jimmy Hamilton]], and [[Russell Procope]]) spending a significant portion of their careers in his orchestra. [[Harry Carney]], primarily Ellington's baritone saxophonist, occasionally doubled on bass clarinet. Meanwhile, [[Pee Wee Russell]] had a long and successful career in small groups. With the decline of the big bands' popularity in the late 1940s, the clarinet faded from its prominent position in jazz. By that time, an interest in [[Dixieland]] or traditional New Orleans jazz had revived; [[Pete Fountain]] was one of the best known performers in this genre.<ref>{{cite web|url=http://www.experienceneworleans.com/pete.html|title=A Closer Walk with Pete Fountain|last=Compagno|first=Nick|accessdate=2009-07-20}}</ref> [[Bob Wilber]], active since the 1950s, is a more eclectic jazz clarinetist, playing in several classic jazz styles.<ref>{{cite book|last=Wilber|first=Bob|title=Music Was Not Enough|url=https://archive.org/details/musicwasnotenoug00wilb|url-access=registration|publisher=Oxford University Press|year=1988|isbn=978-0-333-44418-4}}</ref> During the 1950s and 1960s, Britain underwent a surge in the popularity of what was termed 'Trad jazz'. In 1956 the British clarinetist [[Acker Bilk]] founded his own ensemble.<ref>{{cite book|last=Kaufman|first=Will|author2=Slettedahl Macpherson, Heidi |title=Britain and the Americas|publisher=ABC-CLIO|year=2005|isbn=978-1-85109-431-8}}</ref> Several singles recorded by Bilk reached the British pop charts, including the ballad "[[Stranger on the Shore]]". The clarinet's place in the jazz ensemble was usurped by the [[saxophone]], which projects a more powerful sound and uses a less complicated fingering system.<ref>{{cite news |url=https://www.nytimes.com/1981/07/05/arts/john-carter-s-case-for-the-clarinet.html |title=John Carter's Case For The Clarinet |first=Robert |last=Palmer |date=July 5, 1981 |newspaper=[[The New York Times]] |accessdate=April 2010 }}</ref> The requirement for an increased speed of execution in modern jazz also did not favour the clarinet, but the clarinet did not entirely disappear. The clarinetist [[Stan Hasselgård]] made a transition from swing to bebop in the mid-1940s. A few players such as [[Buddy DeFranco]], [[Tony Scott (musician)|Tony Scott]], and [[Jimmy Giuffre]] emerged during the 1950s playing [[bebop]] or other styles. A little later, [[Eric Dolphy]] (on bass clarinet), [[Perry Robinson]], [[John Carter (jazz musician)|John Carter]], [[Theo Jörgensmann]], and others used the clarinet in [[free jazz]]. The French composer and clarinetist [[Jean-Christian Michel]] initiated a jazz-classical cross-over on the clarinet with the drummer [[Kenny Clarke]]. In the U.S., the prominent players on the instrument since the 1980s have included [[Eddie Daniels]], [[Don Byron]], [[Marty Ehrlich]], [[Ken Peplowski]], and others playing the clarinet in more contemporary contexts.<ref>[[#Lawson|Lawson]]|p=187</ref> ===Other genres=== The clarinet is uncommon, but not unheard of, in [[rock music]]. [[Jerry Martini]] played clarinet on [[Sly and the Family Stone]]'s 1968 hit, "Dance to the Music"; [[Don Byron]], a founder of the [[Black Rock Coalition]] who was a member of hard rock guitarist [[Vernon Reid]]'s band, plays clarinet on the ''Mistaken Identity'' album (1996). [[The Beatles]], [[Pink Floyd]], [[Radiohead]], [[Aerosmith]], [[Billy Joel]], and [[Tom Waits]] have also all used clarinet on occasion.<ref>[http://www.classiccat.net/iv/clarinet.info.php The Classical Clarinet Information Page on Classic Cat]. Classiccat.net. Retrieved on 2015-05-12.</ref> A clarinet is prominently featured for two different solos in "[[Breakfast in America (song)|Breakfast in America]]", the title song from the [[Supertramp]] [[Breakfast in America|album of the same name]].<ref>[https://www.sputnikmusic.com/review/8084/Supertramp-Breakfast-in-America/ Supertramp – Breakfast in America] (review), Sputnikmusic.com, 2 July 2006</ref> Clarinets feature prominently in [[klezmer]] music, which entails a distinctive style of playing.<ref>{{cite journal|doi=10.2307/768201|last=Slobin|first=Mark|year=1984|title=Klezmer Music: An American Ethnic Genre|journal=[[Yearbook for Traditional Music]]|publisher=International Council for Traditional Music|volume=16|pages=34–41|jstor=768201}}</ref> The use of quarter-tones requires a different embouchure.<ref name="cambridge"/> Some klezmer musicians prefer Albert system clarinets.<ref name="hoeprich">{{cite book|last=Hoeprich|first=Eric|title=The Clarinet|publisher=Yale University Press|year=2008|isbn=978-0-300-10282-6}}</ref> The popular [[Brazil]]ian music styles of [[choro]] and [[Samba (music)|samba]] use the clarinet.<ref>{{cite book|last=Livingston-Isenhour|first=Tamara Elena|author2=Thomas George Caracas Garcia|title=Choro|publisher=Indiana University Press|year=2005|isbn=978-0-253-34541-7|url=https://archive.org/details/isbn_9780253345417}}</ref> Prominent contemporary players include Paulo Moura, Naylor 'Proveta' Azevedo, Paulo Sérgio dos Santos, and Cuban born [[Paquito D'Rivera]]. Even though it has been adopted recently in Albanian folklore (around the 18th century), the clarinet, or ''gërneta'' as it is called, is one of the most important instruments in Albania, especially in the central and southern areas.<ref>Shupo, S. (2002). ''Folklori muzikor shqiptar''. Tirane: Asmus</ref> The clarinet plays a crucial role in ''saze'' (folk) ensembles that perform in weddings and other celebrations.<ref>Mahony, M. (2011). [http://hdl.handle.net/2263/27337 ''An investigation of the polyphonic folk music of Albania'']. Dissertation. University of Pretoria</ref> It is worth mentioning that the ''kaba'' (an instrumental Albanian Isopolyphony included in UNESCO's intangible cultural heritage list<ref>"UNESCO Culture Sector—Intangible Heritage—2003 Convention :". Unesco.org. Retrieved 2013-09-22.</ref>) is characteristic of these ensembles.<ref>Tole, S.V. (2007). ''Folklori muzikor—Isopolyphonia & monodia''. Tirane: Uegen</ref> Prominent Albanian clarinet players include Selim Leskoviku, Gaqo Lena, Remzi Lela (Çobani), Laver Bariu (Ustai),<ref>{{cite journal |last1=Tole |first1=Vasil S. |title="Inventory of Performe[r]s on Albanian Folk Iso-Polyphony" "A Masterpiece of the Oral and Intangible Heritage of Mankind safeguarded by UNESCO" |date=2010 |url=http://www.isopolifonia.com/Other%20docs/Inventory%20of%20Performers,%20on%20iso-polyphony.pdf |accessdate=25 April 2020 |location=Tirana}}</ref> and Nevruz Nure (Lulushi i Korçës).<ref>[https://archive.is/20150201222241/http://rateyourmusic.com/artist/nevruz_nure Albums by Nevruz Nure: Discography, songs, biography, and listening guide][Tole, V. S. (1988) "Sazet, muzika me saze e Shqipërisë së Jugut". Tiranë]. Rate Your Music (1954-03-23). Retrieved on 2015-05-12.</ref> The clarinet is prominent in Bulgarian wedding music also; it is an offshoot of Roma/Romani traditional music.<ref>{{cite book|last=Rowlett|first=M|title=The Clarinet in Bulgarian Wedding Music|publisher=Florida State University|year=2001}}</ref> [[Ivo Papazov]] is a well-known clarinetist in this genre. In [[Moravia]]n [[Hammered dulcimer|dulcimer]] bands, the clarinet is usually the only wind instrument among string instruments.<ref>{{cite book|last=Broughton|first=Simon|author2=Mark Ellingham|author3=Richard Trillo|author4=Orla Duane|author5=Vanessa Dowell|title=World Music|publisher=Rough Guides|year=1999|isbn=978-1-85828-113-1|url=https://archive.org/details/classicalmusicon00matt}}</ref> In old-town folk music in [[North Macedonia]] (called [[čalgija]] ("чалгија")), the clarinet has the most important role in wedding music; clarinet solos mark the high point of dancing euphoria.<ref>{{cite web|url=https://www.youtube.com/watch?v=UEIkphIDuYM|title=Tale Ognenovski and Chalgiite MRTV—Nevestinsko oro|accessdate=2010-01-29}}{{better source|date=August 2017|reason=YouTube videos do not provide a reliable source for this statement}}</ref><ref>{{cite web|url=https://www.youtube.com/watch?v=qvqdG4eSIIA|title= Tale Ognenovski, The Greatest Clarinetist of All Time, Musical Genius, Composer...|accessdate=2016-10-31}}{{better source|date=August 2017|reason=YouTube videos do not provide a reliable source for this statement}}</ref> One of the most renowned Macedonian clarinet players is [[Tale Ognenovski]], who gained worldwide fame for his virtuosity.<ref>{{cite web|url=http://www.taleognenovski.mk/|archiveurl=https://web.archive.org/web/20041023085359/http://www.taleognenovski.mk/ |archivedate=2004-10-23|title=Tale Ognenovski, Musical Genius, Titan of the Clarinet And Composer|accessdate=2009-07-21}}</ref> In [[Greece]], the clarinet (usually referred to as "κλαρίνο"—"clarino") is prominent in traditional music, especially in central, northwest, and northern Greece ([[Thessaly]], [[Epirus (region)|Epirus]], and [[Macedonia (Greece)|Macedonia]]).<ref name="pappas">{{cite web|url=http://www.greekfolkmusicanddance.com/instrumentation.php|title=Greek Folk Instrument Groups|last=Pappas|first=John|year=1998|accessdate=2009-07-21}}</ref> The double-reed [[zurna]] was the dominant woodwind instrument before the clarinet arrived in the country, although many Greeks regard the clarinet as a native instrument.<ref name="hoeprich"/> Traditional dance music, wedding music, and laments include a clarinet soloist and quite often improvisations.<ref name="pappas"/> Petroloukas Chalkias is a famous clarinetist in this genre. The instrument is equally famous in [[Turkey]], especially the lower-pitched clarinet in G. The western European clarinet crossed via Turkey to [[Arabic music]], where it is widely used in [[Arabic pop]], especially if the intention of the arranger is to imitate the Turkish style.<ref name="hoeprich"/> [[File:Turkish Clarinet.jpg|center|thumb|500 px|Turkish clarinet]] Also in Turkish [[folk music]], a clarinet-like woodwind instrument, the [[sipsi]], is used. However, it is far more rare than the soprano clarinet and is mainly limited to folk music of the [[Aegean Region]]. ===Groups of clarinets=== 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 [[clarinet#Extended family of clarinets|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]].<ref>{{cite journal|doi=10.2307/3343790|last=Weerts|first=Richard|title=The Clarinet Choir|journal=Journal of Research in Music Education|publisher=MENC|volume=12|issue=3|pages=227–230|year=1964|jstor=3343790}}</ref> * Clarinet quartet, usually three B{{music|flat}} sopranos and one B{{music|flat}} bass, or two B{{music|flat}}, an E{{music|flat}} alto clarinet, and a B{{music|flat}} bass clarinet, or sometimes four B{{music|flat}} sopranos.<ref>{{cite journal|doi=10.2307/3386973|last=Seay|first=Albert E.|date=September–October 1948|title=Modern Composers and the Wind Ensemble|journal=Music Educators Journal|publisher=MENC|volume=35|issue=1|pages=27–28|jstor=3386973}}</ref> 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]].<ref>{{cite web|url=http://www.clarinetinstitute.com/CI%20Quartet%20Project.htm|archiveurl=https://web.archive.org/web/20080703192147/http://www.clarinetinstitute.com/CI%20Quartet%20Project.htm |archivedate=2008-07-03|title=Clarinet Quartet Project|publisher=Clarinet Institute|accessdate=2009-07-21}}</ref> ==Extended family of clarinets== {{Main|Clarinet family}} There is a [[family (musical instruments)|family]] of many differently pitched clarinet types, some of which are very rare. The following are the most important sizes, from highest to lowest: [[File: Klarinettenfamilie.jpg|thumb|upright=1.3| [[Bass clarinet]], [[Basset horn]], clarinets in D, B♭, A, high G and E♭, [[basset clarinet]] in A]] [[File:Clarinette metal CAlt CBas.jpg|thumb|upright=1.3|Contrabass and contra-alto clarinets]] {| class="wikitable" |- style="text-align:center;" ! Name !! Key !! Commentary !! Range (concert) |- | [[Piccolo clarinet]] | A{{music|flat}} | Now rare, used for Italian military music and some contemporary pieces for its sonority.<ref>[https://web.archive.org/web/20080408150814/http://clarinettes.net/Famille.htm#Sopranino#Sopranino Clarinette en la{{music|flat}}]. clarinettes.net</ref> | [[File:clar sop Ab reel.JPG|100 px]] |- | [[E-flat clarinet|E{{music|b}} clarinet]] (Sopranino clarinet in E{{music|flat}}) | E{{music|flat}} | It has a characteristically shrill timbre, and is used to great effect in the classical orchestra whenever a brighter, or sometimes a more rustic or comical sound is called for. [[Richard Strauss]] featured it as a solo instrument in his [[symphonic poem]], [[Till Eulenspiegel]].<ref name=Tschaikov>[[#Lawson|Lawson]], pp.&nbsp;47–49.</ref> It is much used in the [[concert band]] repertoire where it helps out the [[piccolo flute]] in the higher register and is very compatible with other band instruments, especially those in B{{music|flat}} and E{{music|flat}}.<ref name="cambridge"/> | [[File:clar sop Eb reel.JPG|100 px]] |- | [[D clarinet]] (Sopranino clarinet in D) | D | This was, to the high pitched E{{Music|flat}} instrument, what the A clarinet is to the B{{Music|flat}}. Advances in playing technique and the instrument's mechanism meant that players could play parts for the D instrument on their E{{Music|flat}} thus making this instrument more and more expendable. Though a few early pieces were written for it, its repertoire is now very limited in Western music. Nonetheless [[Stravinsky]] included both the D and E{{Music|flat}} clarinets in his instrumentation for [[The Rite Of Spring]].<ref name="cambridge"/><ref name=Tschaikov/> |[[File:clar sop D reel.JPG|100 px]] |- | [[Soprano clarinet|C clarinet]] (Soprano clarinet in C) | C | Although this clarinet was very common in the instrument's earliest period, its use began to dwindle, and by the second decade of the twentieth century it had become practically obsolete and disappeared from the orchestra. From the time of Mozart, many composers began to favour the mellower, lower pitched instruments, and the timbre of the 'C' instrument may have been considered too bright.<ref>[https://web.archive.org/web/20080408150814/http://clarinettes.net/Famille.htm#Ut#Ut Clarinette en Ut]. clarinettes.net</ref> Also, to avoid having to carry an extra instrument that required another reed and mouthpiece, orchestral players preferred to play parts for this instrument on their B{{music|flat}} clarinets, transposing up a tone.<ref>[[#Pino|Pino]], p. 218</ref> | [[File:clar sop C reel.JPG|100 px]] |- | [[Clarinet family|B{{music|flat}} clarinet]] (Soprano clarinet in B{{music|flat}}) | [[B♭ (musical note)|B♭]] | The most common type: used in most styles of music.<ref name="cambridge"/> Usually the term ''clarinet'' on its own refers to this instrument. It was commonly used in early [[jazz]] and [[swing music|swing]]. This was the instrument of renowned and popular figures such as [[Sidney Bechet]], [[Benny Goodman]], [[Woody Herman]], and [[Artie Shaw]]. | [[File:clar sop Bb reel.JPG|100 px]] |- | [[Clarinet family|'A' clarinet]] (Soprano clarinet in A) | A | Many clarinetists and some composers maintain that this has a somewhat mellower sound than the B{{music|flat}}; most people can't perceive a difference in blindfold testing. It is frequently used in orchestral and chamber music, especially of the nineteenth century. The [[Clarinet Quintet (Brahms)|Clarinet Quintet by Brahms (op. 115)]] is a notable example.<ref name="cambridge"/> | [[File:clar sop A reel.JPG|100 px]] |- | [[Basset clarinet]] | A | Clarinet in A extended to a low C; used primarily to play Classical-era music.<ref>Rice, Albert R. (2003) ''The Clarinet in the Classical Period''. Oxford: Oxford University Press.</ref> Mozart's Clarinet Concerto was written for this instrument, though it is frequently played in a version for the ordinary A clarinet. Basset clarinets in B{{music|b}} also exist; this instrument is required to play the obbligato to the aria "Parto, parto" in Mozart's La Clemenza di Tito. | |- | [[Basset-horn]] | F | Similar in appearance to the alto, but differs in that it is pitched in F, has an extended range to low C, and has a narrower bore on most models. Mozart's Clarinet Concerto was originally sketched out as a concerto for basset horn in G. Rarely used today. | [[File:cor basset F reel.JPG|100 px]] |- | [[Alto clarinet]] | E{{music|flat}} or F | Sometimes referred to (mostly in Europe) as the [[tenor]] clarinet. Its greater size and consequently lower pitch give it a rich, dark sonority capable of greater resonance than the soprano instruments, but with less projection than the larger [[bass clarinet]]. It is used in chamber music and concert bands, and occasionally, if rarely, in orchestras. A few players have specialized in using the alto in jazz (e.g. [[Gianluigi Trovesi]]). The alto in F is considered obsolete.<ref>[[#Pino|Pino]], p. 219</ref> | [[File:clar alto Eb reel.JPG|100 px]] |- | [[Bass clarinet]] | B{{music|flat}} or A | Invented in the 1770s, it only became popular around a hundred years later when it contributed to the rich orchestral palettes of composers such as [[Wagner]] and the late [[Romantics]]. It has become a mainstay of the modern orchestra. Originally, the third clarinet would double on bass, but now, most orchestras employ a specialist devoted principally to this instrument.<ref name="cambridge"/> It is used in concert bands, contemporary music, and enjoys, along with the B{{Music|flat}} clarinet, a considerable role in jazz. [[Eric Dolphy]] was one of its more remarkable exponents. The bass clarinet in A, which had a vogue among certain composers from the mid-19th to the mid-20th centuries, is now so rare as to usually be considered obsolete.<ref>[http://www.europeanclarinetassociation.org/uploads/media/Bass_Clarinet_in_A_-_Keith_Bowen.pdf THE RISE AND FALL OF THE BASS CLARINET IN A] {{webarchive|url=https://web.archive.org/web/20130228195253/http://www.europeanclarinetassociation.org/uploads/media/Bass_Clarinet_in_A_-_Keith_Bowen.pdf |date=2013-02-28 }}</ref> | [[File:clar bas Bb reel.JPG|100 px]] |- | [[Contra-alto clarinet|E{{music|flat}} contrabass clarinet]] (also called Contra-alto or Contralto clarinet) | EE{{music|flat}} | Used in clarinet choirs and is common in concert bands.<ref name="cambridge"/> | [[File:clar ctalto Eb reel.JPG|100 px]] |- | [[Contrabass clarinet]] (also called double-bass clarinet) | BB{{music|flat}} | Used in clarinet choirs and is common in concert bands. It is sometimes used in orchestras. [[Arnold Schoenberg]] calls for a contrabass clarinet in A in his [[Five Pieces for Orchestra]], but it is not clear if such an instrument ever existed.<ref name="cambridge"/> | [[File:clar ctbas Bb reel.JPG|100 px]] |} EEE{{music|flat}} and BBB{{music|flat}} [[Subcontrabass clarinet|octocontra-alto and octocontrabass]] clarinets have also been built.<ref>{{cite web|url=http://www.contrabass.com/pages/octobass.html|title=Octocontrabass & Octocontralto Clarinets|last=Green|first=Grant D.|year=2005|accessdate=2009-07-21}}</ref> There have also been soprano clarinets in C, A, and B{{music|flat}} with curved barrels and bells marketed under the names [[saxonette]], claribel, and clariphon. ==See also== * List of [[Clarinet concerto|clarinet concerti]] * [[List of clarinetists]] * [[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]] * [[International Clarinet Association]] == References == === Citations === {{Reflist}} === Cited sources === {{refbegin}} * {{cite book |ref= Lawson |editor=Lawson, Colin |year=1995 |title = The Cambridge Companion to the Clarinet |url = https://archive.org/details/cambridgecompani00prof |url-access = registration |publisher = Cambridge University Press |isbn= 978-0-521-47668-3 }} * {{cite book |ref= Pino |author=Pino D. |year=1998 |title = The Clarinet and Clarinet Playing |publisher= Dover Publications |isbn=978-0-486-40270-3 }} * {{cite book |ref= Rendall |author = Rendall, F. Geoffrey |title = The Clarinet: Some Notes upon Its History and Construction |edition=3rd |location = New York, NY |publisher = W. W. Norton & Company Inc. |year= 1971 |isbn=978-0393021646 }} {{refend}} Clarinet is the best! ==Further reading== * 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}}. * 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 Dictionary of Music and Musicians|Grove Music Online]]'', ed. L. Macy (accessed 21 February 2006), [http://www.grovemusic.com/ grovemusic.com] (subscription access). * Jennifer Ross, "Clarinet", "Ohio: Hardcover Printing Press, 1988. * Fabrizio Meloni, ''Il Clarinetto'', ill., 299 pages, Zecchini Editore, [http://www.zecchini.com/ zecchini.com] Italy, 2002, {{ISBN|88-87203-03-2}}. * Bărbuceanu Valeriu, "Dictionary of musical instruments", Second Revised Edition, Teora Press, Bucharest, 1999. * "Fundamentals of Musical Acoustics" by Arthur H. Benade, Dover Publishing. * [http://www.selmer.fr/instruinfo.php?page=GEN&famille=SELMER%20CLAR SELMER Paris : the clarinet family] ==External links== {{Commons|Clarinet}} {{Wiktionary|clarinet}} {{wikiversity|Clarinet}} {{wikibooks|Clarinet}} {{Wikisource1911Enc|clarinet}} * [http://www.clarinet.org/ The International Clarinet Association] {{Prone to spam|date=May 2012}} {{Z148}}<!-- {{No more links}} Please be cautious adding more external links. 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