135:, and technique of the Boehm system clarinet are decidedly different from the pre-Boehm clarinet. Shackleton writes, "In particular, it is easy to perceive that the pre-Boehm clarinet, with rather small tone holes spaced about 2 cm apart, should have very different characteristics from the Boehm instrument carrying tone holes every centimeter or so." The tone of individual notes and intonation of the scale depend on the precise relationship between the resonances. For example, if the second prominent resonance is not exactly an octave plus a fifth above the fundamental, the resonance will not be properly built and will therefore result in a less vibrant tone. The tone of the Boehm system clarinet is more open than its predecessors' veiled tone. Fork- and cross-fingerings create a greater number of closed holes—another cause of the pre-Boehm clarinet's dull tone. Due to the advancements in keywork, the Boehm system clarinet does not rely on many such fingerings, allowing for more open holes and a more vibrant tone that forgoes the unique color of the pre-Boehm clarinet. Furthermore, Boehm keying advancements notably improved the technical facility of its players. Boehm system clarinetists became able to play using more sequential fingering patterns, therefore improving the accuracy of fast passages.
191:
first improvement was to include a seventh ring on the instrument; adding a cross-fingered E flat’/B flat’’ to the range, much like that of the modern saxophone. Next, an articulated C sharp’/G sharp’’ key was added; permitting a B/C sharp’ and F sharp’’/G sharp’’ trill to be made in nearly perfect pitch with a much simpler fingering pattern. A low E flat key was also added because it is a note that did not exist on previous clarinets and it is required by some composers. The addition of the E flat key is also convenient when A clarinet parts must be transposed at sight on the B flat instrument, so that the former's lowest note, (written) E (often called for because it is part of any clarinet system's practical range) may be played on the latter as (written) E flat. Finally, an alternate A flat/E flat’’ key for the left hand fourth finger was added, allowing more efficient fingering of certain passages.
173:
149:
119:, Buffet utilized needle springs in order to control the opening and closing of keys mounted on axles. Needle springs are mounted on posts screwed directly into the wooden body of the clarinet and are used for all keys other than those with extremely short pivoting axles, which continue to make use of simple leaf springs attached longitudinally to the underside of each separate key. This is the method of operation of the keys on pre-Boehm woodwind instruments.
161:
89:, a prominent clarinettist in London who used the Boehm system and the Full Boehm system clarinet—in England in the 1890s. By the early twentieth century, virtually all clarinets used by performers outside of Germany, Austria, and Russia were of the Boehm system or one of its derivatives. The only alteration to Klosé and Buffet's clarinet that has wide currency is the Full Boehm system clarinet which was introduced by Buffet in the 1870s.
279:
20:
238:. They developed a new mechanism for control of the throat notes (A flat, A, and B flat) using only the left hand rings, allowing these notes to be played without the need to move the position of the left hand. There are only three trill keys, rather than the standard Boehm system's four, for the right first finger. Otherwise the fingerings are the same as in the standard Boehm system.
115:. These rings surround the tone holes so that when a finger covers the tone hole it also pushes a metal ring down to a level flush with the top of the hole. The ring, in turn, is connected to a long axle (borrowed directly from Boehm's flute), which then causes another hole located elsewhere on the instrument to be covered by a padded key. As an original invention for the
337:
110:
The ring keys Boehm created for his flute gave other instrument inventors the means to devise logical fingering systems that allowed for more physical agility. Ring keys and needle springs were the two major features adapted for Klosé and Buffet's new design. However, they did not incorporate Boehm's
436:
In the medium term, the production of Full boehm, Reform Boehm and Benade-NX clarinets is likely to be phased out. On the one hand, the industrially produced relatively inexpensive standard Boehm clarinets remained, one or the other top model perhaps still equipped with one or two extra keys, and on
262:
shape. In addition, differences from the standard Boehm system include: separate holes for the register key and for throat B flat, operated by a single left thumb key via an automatic mechanism; elimination of some redundant tone holes, with some resulting changes in fingering; and modifications of
395:
Not the big French manufacturers, but the relatively small German manufacturers offer Boehm clarinets optionally with additional mechanisms, which either improve the intonation or make it easier for the player to play certain passages through new redundant handles. First of all, these are the five
221:
in the 1950s. Its main feature is a linkage operated by any one of the right-hand ring-key fingers which opens the third right-index-finger trill key for playing the throat B flat, instead of using the register key, thereby avoiding the tonal compromise that comes from using the tiny register key
190:
The Full Boehm system clarinet is the only extensively accepted modification of Klosé and Buffet's 1843 design, though its added complexity, weight, and cost have kept it from supplanting the latter altogether. It features four improvements creating an even more streamlined fingering system. The
241:
The McIntyres produced and sold clarinets using their system, but faced an uphill battle in marketing them. Other than the need for the clarinetist to learn the new throat fingerings, the main drawbacks to the system were the weight and complexity of the mechanism. Lacking funds to work on
78:, adapted the ring and axle keywork system to correct serious intonation issues on both the upper and lower joints of the instrument, and added duplicate keys for the left and right little fingers, simplifying several difficult articulations throughout the range of the instrument.
412:
9. In the case of a Boehm clarinet with a German bore, German rings can also be mounted on the upper joint instead of the French one (struck on the left side). This makes the connection of the rings on the upper and lower joint by a bridge on the right side obsolete.
383:
101:
remodeled the instrument and raised the number of keys to 13. Other makers made small improvements to MĂĽller's design, but the Boehm system clarinet represented the first complete redesign of the key system after MĂĽller.
396:
mechanisms that Fritz
Wurlitzer has developed for his Reform Boehm clarinet, but which can also be installed on normal Boehm clarinets. In order to avoid repetition, reference is made to the main article
199:
Numerous other attempts have been made to create new clarinet key systems based on the Boehm system. None has achieved substantial acceptance, though some are still in use by a few musicians.
242:
improvements, the McIntyres tried to interest a major clarinet manufacturer in the system but were unable to reach an agreement, and production of the instrument ceased.
81:
The Boehm clarinet was initially most successful in France—it was nearly the only type of clarinet used in France by the end of the 1870s—but it started replacing the
437:
the other hand, the particularly high-quality soloist instruments individually made according to the wishes of the clarinetist by German and
Austrian manufactories.
325:
1365:
160:
986:
959:
909:
890:
818:
403:
6. A mechanism for a better change from low E to low F# or from B4 to C#5, which can also be used for the execution of corresponding trills.
1474:
513:
386:
Configurators for the mechanical equipment of a modern Boehm clarinet with different bores in a modular design (options marked in blue)
1153:
496:
462:
172:
148:
328:. The fingering system of the extremely rare Bohlen-Pierce clarinet is based on the Böhm system (clarinet), but has fewer keys.
650:
320:, but also on metallophones and glockenspiels. A first concert with Bohlen-Pierce clarinets took place on 20 March 2008 at the
409:
8. An additional resonance key on the right side of the lower joint to improve the sound of Bb3 and the F#5 (Acton mechanism)
694:
355:
345:
1004:
Rendall, F. Geoffrey (1941). "A Short
Account of the Clarinet in England During the Eighteenth and Nineteenth Centuries".
927:
1340:
267:
86:
375:
clarinets with Boehm fingerings. Differences between this system and standard Boehm in actual use include different
97:
The clarinet was an inelegant instrument in the early 19th century despite the eight keys it had acquired. In 1812,
416:
Clarinets of this type are built at the highest quality level at appropriate prices. International soloists such as
1441:
1505:
1451:
1446:
425:
308:, creating new soundscapes and listening experiences in the field of contemporary music. It can be relalised on
1360:
1330:
1315:
1302:
259:
1146:
270:
has done further research along Benade's lines, and now offers custom built NX system clarinets for sale.
235:
707:
1236:
931:
688:
368:
1380:
1246:
85:
clarinet and its descendants in
Belgium, Italy, and America in the 1870s and—following the example of
1221:
321:
49:
1335:
1277:
1226:
397:
287:
1500:
1395:
1385:
1095:
1058:
861:
772:
562:
1350:
45:
517:
1416:
1390:
1355:
1139:
1118:
1087:
1050:
1021:
992:
982:
965:
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915:
905:
886:
853:
824:
814:
795:
764:
733:
492:
488:
481:
458:
364:
352:
263:
tone hole spacings, tone hole depths, and key pad heights to minimize turbulence in the bore.
379:
fingerings, a smaller hand position, and greater bore resistance requiring more air to play.
1431:
1426:
1345:
1200:
1114:
1079:
1042:
1013:
878:
845:
791:
756:
729:
554:
75:
371:
and some other clarinet makers in
Germany. The system combines the bore characteristics of
1421:
1241:
1189:
1178:
1170:
1109:
786:
724:
417:
360:
112:
1411:
1370:
1325:
1320:
1287:
305:
218:
98:
56:
382:
278:
1494:
1469:
1436:
1292:
1282:
1267:
1216:
1211:
675:
Stier, Charles (July–August 1991). "The
Wurlitzer Reform-Boehm Clarinet in America".
421:
372:
297:
255:
208:
132:
82:
654:
1479:
60:
19:
29:
Full-Boehm clarinet, range to E flat, with 20 keys, 7 rings and left E-flat-lever
1375:
1310:
1251:
601:
935:
882:
580:
301:
1091:
1054:
1025:
996:
857:
768:
621:
1231:
969:
919:
391:
Boehm clarinets in a modular design - Improvements by German clarinet makers
376:
317:
309:
128:
1033:
Rice, Albert R. (1988). "Berr's
Clarinet Tutors and the 'Boehm' Clarinet".
1017:
828:
683:(4). International Clarinet Society: 18. Republished at Cherry Valley Music
635:
503:(republication of third edition, 1967, as reprinted with corrections, 1977)
336:
1162:
747:
Benade, Arthur H. (1994). "Woodwinds: The
Evolutionary Path Since 1700".
313:
64:
41:
258:
from the 1970s until his death in 1987. The NX clarinet has a distinct
111:
concept of full venting. Ring keys virtually eliminated the problems of
1110:"The clarinet of Western art music: Compass, registers and Intonation"
1099:
1062:
865:
776:
566:
541:
68:
44:
is a system of clarinet keywork, developed between 1839 and 1843 by
1083:
1046:
849:
760:
558:
63:
for the flute, but necessarily differs from it, since the clarinet
381:
277:
979:
The clarinet : some notes upon its history and construction
324:, Ontario, Canada, followed by a concert on 13 June 2008 at the
1135:
282:
Bohlen-Pierce clarinet family: soprano, contra(bass) and tenor
55:. The name is somewhat deceptive; the system was inspired by
1131:
365:"Herbert Wurlitzer Manufaktur fĂĽr Holzblasinstrumente GmbH"
1070:
Ridley, E. A. K. (1986). "Birth of the 'Boehm' Clarinet".
836:
Halfpenny, Eric (1977). "The Boehm
Clarinet in England".
359:
was developed around the middle of the 20th century by
904:. Cambridge, UK New York: Cambridge University Press.
234:
was patented in 1959 by Robert and Thomas McIntyre of
784:
BĂ©thune, Anthony; W. McBride (2001). Macy, L. (ed.).
71:. Boehm himself was not involved in its development.
1462:
1404:
1301:
1260:
1169:
539:Benade, Arthur H.; Keefe, Douglas H. (March 1996).
363:, and Reform Boehm clarinets are currently made by
1108:
785:
723:
722:Bate, Philip; J. Voorhees (2001). Macy, L. (ed.).
540:
480:
166:Mouthpiece, barrel, upper joint, lower joint, bell
928:"Annotated Checklist of Mazzeo System Clarinets"
400:(Development, 2nd section). Other improvements:
708:Original configurator by Schwenk & Seggelke
529:Includes images of booklet and fingering chart.
143:
602:"The Benade NX Clarinet, Part II: Development"
1147:
254:was developed by acoustician and clarinetist
8:
16:Clarinet keywork system developed circa 1840
1012:. Cambridge University Press (CUP): 55–86.
902:The early clarinet : a practical guide
457:. London: Ernest Benn Limited. p. 99.
1154:
1140:
1132:
581:"The Benade NX Clarinet, Part I: Origins"
516:. NC Clarinet Collection. Archived from
335:
326:Hochschule fĂĽr Musik und Theater Hamburg
18:
1119:10.1093/gmo/9781561592630.article.52768
875:The Cambridge Companion to the Clarinet
873:Lawson, Colin, ed. (14 December 1995).
796:10.1093/gmo/9781561592630.article.04265
734:10.1093/gmo/9781561592630.article.14955
445:
144:
67:at the twelfth rather than the flute's
26:Boehm Clarinet with 17 keys and 6 rings
1107:Shackleton, Nicholas. Macy, L. (ed.).
1006:Proceedings of the Musical Association
686:
542:"The Physics of a New Clarinet Design"
483:Woodwind Instruments and Their History
7:
1475:Category:Clarinetists by nationality
954:. Mineola, N.Y: Dover Publications.
74:Klosé and Buffet took the standard
728:. Grove Music Online ed. L. Macy.
638:The Bohlen-Pierce clarinet project
14:
952:The clarinet and clarinet playing
312:with a cylindrical bore, such as
981:. London New York: Benn Norton.
428:have had such instruments made.
304:into thirteen instead of twelve
171:
159:
147:
651:"Herbert Wurlitzer Klarinetten"
877:. Cambridge University Press.
346:Reform Boehm system (clarinet)
106:How the instrument was changed
1:
453:Rendall, F. Geoffrey (1971).
406:7. B3/C#4 and F#5/G#5 trills
154:Boehm clarinet on music stand
934:. 2003-05-06. Archived from
813:. New York: Schirmer Books.
487:. New York: Dover. pp.
195:Other modified Boehm systems
117:clarinette Ă anneaux mobiles
553:. Galpin Society: 113–142.
1522:
1072:The Galpin Society Journal
1035:The Galpin Society Journal
838:The Galpin Society Journal
749:The Galpin Society Journal
693:: CS1 maint: postscript (
624:The Bohlen-Pierce Clarinet
547:The Galpin Society Journal
514:"McIntyre System Clarinet"
343:
285:
206:
977:Rendall, Francis (1971).
883:10.1017/ccol9780521470667
222:hole for venting B flat.
1361:Jupiter Band Instruments
479:Baines, Anthony (1991).
266:Canadian clarinet maker
1331:Johann Christoph Denner
1316:Backun Musical Services
787:"Buffet, Louis-Auguste"
1381:Schwenk & Seggelke
1113:. Grove Music Online.
900:Lawson, Colin (2000).
790:. Grove Music Online.
387:
341:
340:Reform Boehm clarinets
283:
236:Naugatuck, Connecticut
182:
33:
1442:Clarinet-violin-piano
1237:Quarter tone clarinet
932:National Music Museum
809:Brymer, Jack (1977).
385:
369:Neustadt an der Aisch
339:
281:
22:
1452:Clarinet-cello-piano
1447:Clarinet-viola-piano
1227:Contrabass clarinets
1222:Contra-alto clarinet
1018:10.1093/jrma/68.1.55
950:Pino, David (1998).
622:Nora-Louise MĂĽller,
322:University of Guelph
294:Bohlen-Pierce scale'
274:Bohlen-Pierce system
1351:Leitner & Kraus
1336:Benedikt Eppelsheim
398:Reform Boehm system
356:Reform Boehm system
332:Reform-Boehm system
288:Bohlen-Pierce scale
186:Full Boehm clarinet
1396:Yamaha Corporation
1247:Clarinette d'amour
388:
342:
300:which divides the
284:
178:Components in case
34:
1488:
1487:
1417:Clarinet concerto
1391:Herbert Wurlitzer
1356:Howarth of London
1261:Fingering systems
988:978-0-510-36700-8
961:978-0-486-40270-3
911:978-0-521-62466-4
892:978-0-521-47668-3
820:978-0-02-871430-1
755:. JSTOR: 63–110.
1513:
1506:Clarinet systems
1432:Clarinet quartet
1427:Clarinet quintet
1346:Heinrich Grenser
1206:
1205:
1195:
1194:
1184:
1183:
1156:
1149:
1142:
1133:
1128:
1126:
1125:
1112:
1103:
1078:. JSTOR: 68–76.
1066:
1041:. JSTOR: 11–15.
1029:
1000:
973:
946:
944:
943:
923:
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869:
832:
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803:
802:
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743:
741:
740:
727:
710:
705:
699:
698:
692:
684:
672:
666:
665:
663:
662:
653:. Archived from
647:
641:
633:
627:
619:
613:
612:
610:
609:
598:
592:
591:
589:
588:
577:
571:
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544:
536:
530:
528:
526:
525:
510:
504:
502:
486:
476:
470:
468:
450:
217:was invented by
175:
163:
151:
113:cross-fingerings
76:soprano clarinet
1521:
1520:
1516:
1515:
1514:
1512:
1511:
1510:
1491:
1490:
1489:
1484:
1458:
1422:Clarinet sonata
1400:
1303:Clarinet makers
1297:
1256:
1242:Basset clarinet
1203:
1202:
1192:
1191:
1181:
1180:
1171:Clarinet family
1165:
1160:
1123:
1121:
1106:
1069:
1032:
1003:
989:
976:
962:
949:
941:
939:
926:
912:
899:
893:
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835:
821:
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499:
478:
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469:(Third Edition)
465:
452:
451:
447:
443:
434:
418:Charles Neidich
393:
361:Fritz Wurlitzer
348:
334:
290:
276:
248:
232:McIntyre system
228:
226:McIntyre system
211:
205:
197:
188:
183:
179:
176:
167:
164:
155:
152:
141:
125:
108:
95:
50:Auguste Buffet
46:Hyacinthe Klosé
32:
17:
12:
11:
5:
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1517:
1509:
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1503:
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1412:Clarinet choir
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1378:
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1368:
1363:
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1338:
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1326:Buffet Crampon
1323:
1321:E. K. Blessing
1318:
1313:
1307:
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1130:
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1084:10.2307/842134
1067:
1047:10.2307/842703
1030:
1001:
987:
974:
960:
947:
924:
910:
897:
891:
870:
850:10.2307/841363
844:. JSTOR: 2–7.
833:
819:
806:
781:
761:10.2307/842663
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667:
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559:10.2307/842396
531:
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426:Richard Haynes
392:
389:
344:Main article:
333:
330:
286:Main article:
275:
272:
247:
244:
227:
224:
219:Rosario Mazzeo
207:Main article:
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165:
158:
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124:
121:
107:
104:
94:
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57:Theobald Boehm
31:
30:
27:
23:
15:
13:
10:
9:
6:
4:
3:
2:
1518:
1507:
1504:
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1471:
1470:Benny Goodman
1468:
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1439:
1438:
1437:Clarinet trio
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1217:Bass clarinet
1215:
1213:
1212:Alto clarinet
1210:
1208:
1199:
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1278:Reform Boehm
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87:Manuel GĂłmez
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38:Boehm system
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1376:Adolphe Sax
1371:Iwan MĂĽller
1341:Stephen Fox
1311:Amati-Denak
1252:Basset horn
268:Stephen Fox
99:Iwan MĂĽller
93:Development
1495:Categories
1207:) clarinet
1201:Soprano (B
1124:2006-11-04
942:2007-06-04
801:2006-11-04
739:2006-11-03
716:References
661:2007-03-16
608:2007-03-16
587:2007-03-16
524:2007-03-16
318:pan flutes
310:aerophones
302:duodecimal
298:tone scale
1501:Clarinets
1232:Saxonette
1092:0072-0127
1055:0072-0127
1026:0958-8442
997:906059470
858:0072-0127
769:0072-0127
725:"Keywork"
377:altissimo
353:Wurlitzer
314:clarinets
252:NX system
246:NX system
129:acoustics
65:overblows
1204:♭
1196:clarinet
1193:♭
1185:clarinet
1182:♭
1163:Clarinet
970:39839799
920:57333005
811:Clarinet
42:clarinet
40:for the
1405:Related
1366:Leblanc
829:2875904
489:320–323
432:Outlook
306:degrees
123:Results
1386:Selmer
1293:Oehler
1288:MĂĽller
1283:Mazzeo
1268:Albert
1100:842134
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139:Photos
69:octave
61:system
1273:Boehm
1096:JSTOR
1059:JSTOR
862:JSTOR
773:JSTOR
563:JSTOR
441:Notes
296:is a
52:jeune
1088:ISSN
1051:ISSN
1022:ISSN
993:OCLC
983:ISBN
966:OCLC
956:ISBN
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906:ISBN
887:ISBN
854:ISSN
825:OCLC
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765:ISSN
695:link
493:ISBN
459:ISBN
424:and
350:The
316:and
292:The
260:bore
250:The
230:The
213:The
133:tone
127:The
48:and
36:The
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