Index

Clasification

Characteristics

Folklorics

Origin

Parts

Extension

Timbre

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ORIGIN

Clarinete was invented in 1690 by JOHANN CH. DENNER . Their direct ancestors (of whom reference is had) go back to year 3000 a.c, approximately, when in Egypt existed the ARGHUL , of cylindrical section, with the mouthpiece carved on their same body and in its superior end a small cut lamina that serves like vibrant reed. This description makes to remember the popular "flautas de Millo" or "Caña de Millo" of the Colombian Atlantic Region. The ARGHUL has much similarity and seems close relative of the Greek AULOS and the greco-roman TIBIA.

Contemporary to the ARGHUL existed an instrument of two tubes and two present canes similar to the Arab ZUMARA, Hindu MAGUDI and anamita CAI-KEN-DOI.

Later, in the middle ages, evidence of a Greek model of AULOS, the CARAMILLO , very popular in France, has 6 holes and apparently it derives from the CIARAMELLA , that at the moment usually it is used in some regions of Italy.

A type of CARAMILLO is the CHALUMEAU, (XVII century) constructed generally in wood of Boj , with about 9 holes, without bell (pabellón) and tuned in F . Its extension was of one tenth: F to A¹. Word CHALUMEAU is essentially French and is also a generic name for the wind instruments of simple cane, which became in several tuning; it derives from the Latin " CALAMUS " that means to trunk, cane or stem, very different and that ancestor of the Oboe is not due to confuse with the German instrument, named SCHALMEY . 

He was then in 1690 when JOHANN CRISTOPH DENNER (Leipzig 1655 - Nuremberg 1707), craftsman specialized in the construction of flutes, perfected the CHALUMEAU being high and mighty their extension with a small assigned orifice to produce twelfth. He applied two keys: One for the thumb of the left hand, also call Portavoz, who opens to the new orifice and the other for the index finger of the same hand.

Closing all the orifices it was obtained 

And opening them

The A was obtained closing the key of the thumb and opening the one of the index.

This new instrument (fig 13) differs in many characteristics from clarinet present. Their mouthpiece and reed were thinner, their extension were smaller, lacked bell, its timbre was more similar to the one of the Oboe and the trompet. The new found registry was called Clarino , that it makes reference to a type of acute trompeta of copper, straight tube and 7 holes. Derivative of this word is born the name of CLARINET.

All a family of new instruments existed (fig 14) who still stops some were called chalumeau:

Fig. 13 Chalumeau

Fig. 14 Chalumeau family

Fig. 15 Chalumeau with reed

In 1701 JACOB, the DENNER son , extended clarinet placed bell to him and third key added his to him that allowed to produce E and B ,

although some historians assign to this new key to FRITZ BARTHOLD DE BRUNSWICK (fig 16).

Fig. 16 3 keys Clarinet

Nowadays very few of first clarinetes are conserved constructed by DENNER. It is as well as little by little clarinete is letting its popular character to become an artistic instrument.

Nowadays very few of first clarinetes are conserved constructed by DENNER. It is as well as little by little clarinete is letting its popular character to become an artistic instrument.

In 1732 clarinet is mentioned in MUSICALISHES LEXICON of JOHANN GOTTFRIED WALTHER , but REINHARDT KEISER in their KRÖSUS (1711) and TELEMAN in SIEG DER SCHÖNHEIT (1722) mention it with the Caramillo name.

In the ENCICLOPÉDIE of 1753 and the DICTIONNAIRE of L'ACADÉMIE of 1762, it is defined to the instrument like " a species of Oboe ".

Fig. 17 5 Keys Clarinet

By this time, thanks to JOSEPH BEER (1744-1811), add 2 keys to him more (fig 17), that obtained notes

It is important to add that the incorporation of new keys implies the perforation of more holes.

It is important to add that the incorporation of new keys implies the perforation of more holes.

In 1791, JUAN XAVIER LEFEBVRE (1763-1829) manufacturer of wind instruments of wood, first professor of Paris Conservatory, excellent interpreter and composer, places one sixth key (fig 18) for notes,

Fig. 18 6 keys Clarinet

thus increasing its possibilities pitch and improving its playing. Their sonatas, pairs and a method for clarinete stand out.

A seventh key (fig 19)es incorporated in 1808 by J. F. SINIOT, a manufacturer of wind instruments, by means of which it was possible to raise until G of the acute registry. In addition SINIOT publishes a manual of execution with details on the last proportionate innovations.

The virtuoso German clarinetist E. J. BAERMANN, to whom WEBER wrote his works to him for clarinete, presented the compositions of solist clarinet in a so single instrument of 8 keys.

Fig. 19 7 keys Clarinet

Despite the loudness it presented certain instability, the keys did not offer the facilities of the modern instruments and for that reason the fast passages, mainly in the serious registry, demanded the maximum of skill in the player.

Manufacturer GREISLIG from BERLIN manufactured in 1809 instruments of 10 keys and one of them arrived at BAERMANN hands.

With the necessity to correct the difficulties that appeared until now, the Russian constructor IVÁN MÜLLER (1786-1854) began in 1806 to work to improve the instrument. In 1809 he placed in Paris and in 1811 he presents the 13 keys clarinet that facilitates the fingering and it sets out to generalize his use in countries like Germany, Austria, Russia, France, among others. In spite of the rejection of the FRANCE ACADEMY , between 1820 and 1830 east system is devoted that in addition changes to the traditional leather slippers by pads stuffed of fabric or wool and covered in gut or leather.

Fig. 20 Müller Sistem 1812

Other models of instrument (fig 22, 23, 24, 25), based on MÜLLER system, appear at the end of the Thirties, like designed in Brussels by C. SAX and E. ALBERT, who enjoyed great acceptance and diffusion in Belgium and its neighboring countries. It arises then, the " ALBERT SYSTEM " (fig 26), of narrower perforation and sound a little more brilliant. In century XIX its improvement in Germany begins and is obtained the "ÖHLER SYSTEM " (fig 27), used at the moment in the Austrian and German orchestras. Few constructors process this system today, which makes more expensive than Böhm clarinet . Some of them are: O. HAMMERSCHMIDT , UEBEL , KREUL , CLEMENS WURLITZER , ARNO WURLITZER and YAMAHA , where an instrument can be bought from U$2000. The best mark is HERBERT WURLITZER , with prices between U$5000 and U$8000 and is due to hope 3 years to receive it. Another good mark is RICHARD KEILWERTH , a little more cheap and with delivery in less time.

Fig. 22 Stehle Clarinet 1830

Fig. 23 C. Sax Clarinet 1830

Fig. 24 Anonymous Clarinet 1834

Fig. 25 Schutz Clarinet 1850

Fig. 26 Albert Clarinet 1850

Fig. 27 Oehler Clarinet 1930

It is easy to distinguish ÖHLER SYSTEM: BÖHM clarinet has a metallic ring on the hole of the middle finger of the right hand, the ÖHLER has that hole covered with a metallic key, like those of flute or saxo. The ALBERT SYSTEM does not have keys in bridge and in the thumb of the left hand there is no ring, only a small metallic cylinder in its interior.

In America ÖHLER SYSTEM was used to half of this century, particularly in the world of the jazz, but it has been replaced by the sound more hard and the best fingering possibilities of BÖHM clarinet , to the point that nowadays is very difficult to be with one of those instruments.

Fig. 29 L. A. BUFFET

Towards 1840 HYACINTHE KLOSÉ (1808-1880), disciple of the school of clarinetists of FRÉDÉRIC BEER (1794-1838) and professor of conservatory, designed with the collaboration of LOUIS AUGUSTE BUFFET (fig 29), a new model (fig 30) that adapted the innovations done to transverse flute by THEOBALD BÖHM (1794-1881) (fig 28) in 1832. With this modification the holes are perforated in an acoustic more appropriate place (more sharpened); a movable metallic ring system is included to him that borders the orifices and thus with a single finger it is possible to be closed more of a hole; the handling of the keys of F and F sharp is facilitated, in both registries; two keys for the little fingers are added that allow to choose one better digitation for certain passages where the jump from a key to another one leaves imperfections sonorous and does not allow the bound one.

Fig. 30 Buffet Crampon Clarinet

This model had, in principle, difficulty to be accepted in France since a new special study for its handling was due to do and the instrumentist ones were against it. Tests were even made of new systems like clarinet " omnitónico ", or " multiphonic ", designed by professor BLANCON and the manufacturing BUFFET CRAMPON of Paris, who did not have importance.

 BÖHM SYSTEM had to be declared obligatory in the Paris conservatory and in the army and at the end of century XIX already it was extended almost everywhere with the name of "BÖHM CLARINET".

For the decade of the 40 ample the perforation of the body with the purpose of improving its power. Nevertheless, the German constructors have continued with the old form of perforation, cylindrical until the stop of the bell.

Also they maintain the short and pointed form of the mouthpiece, used with a narrow reed and lasts. In France and Belgium the less preservative manufacturers experienced several innovations: To begin the widening of the perforation above, to extend the bell, to enlarge the mouthpiece and to use it with a wide and softer reed. This way a more shining timbre is developed, with a new, own musical character of modern clarinet. In resistance, German clarinet, tries to reproduce the timbre that conquered the ear of MOZART and WEBER .

In 1861 A. ROMERO (1815 - 1886), clarinetist, composer and professor of the Madrid Conservatory, presented in the Universal Exhibition of Paris, its model of clarinet. From 1851 it began his experiments on the LEFEBVRE models and BUFFET and after ten years of arduous work is able to design a new system of keys, of which creditor to the silver medal takes control of the exhibition. Nevertheless their studies did not finish there and new modifications were presented in 1878 in the exhibitions of Madrid, Vienna, Filadelfia and Paris, obtaining in all they prizes and medals.

Fig. 31 Buffet Clarinet 1860

Fig. 32 Berteling Clarinet 1880

Until today new improvements have been incorporated like, in their order:

Double key of the G sharp - D sharp,

The E flat - B flat in bracket form,

Double key of C sharp - G sharp,

Trino of B – C sharp, F sharp – G sharp,

E flat,

that it allows to the instrument tuned in B flat, to replace to clarinet in A,

Trino San Luis of G sharp – A

Thanks to these improvements, applied to the constructions worldwide, we can enjoy clarinet in B flat that allows to play in all the tonalities and to replace with much efficiency to clarinet in A.

In the construction of clarinet many tests were made modifying some elements, among them, the form, the keys and the length of the perforation (fig 37, 38, 39, 40, 41), that although contributed to the improvement of the instrument, many are only remembered like peculiar instruments.

Fig. 37 Anonimous Clarinet 1890

Fig. 38 Maino Orsi Clarinet 1890

Fig. 39 Monnig Clarinet 1925

Fig. 40 Martin Clarinet 1930

Fig. 41 Dou Schuller Clarinet

Nowadays it is possible to be chosen between without number of characteristics that offer the modern constructions: different materials from construction, diversity of mouthpieces, canes and ligatures, diameter of the perforation of the body and the barrel, auxiliary keys, adjustable key of rest of the thumb, small - light and comfortable cases in several materials (some thermal ones), type of covering of the keys (nickel, silver, gold...) and a great variety of accessories: oils, cloth, fat for corks, cuter for reed, pads for mouthpiece, sandpapers, among others.

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