The clarinet is generally described as being a stopped cylindrical tube, but in fact only roughly two thirds are perfectly cylindrical. Part of the tube leading to the bell is conical, and so is the mouthpiece, which does not hermetically seal the top.

These factors, plus the fact that the surface of the bore of the tube is not perfectly smooth on account of the key holes, all contribute to the complex timbre. Uneven harmonics are present in force in the lower register and diminish in number towards the higher, where even harmonics are present. None the less, the clarinet behaves as though it were a proper stopped cylindrical pipe — which is awkward, for it means that instead of overblowing at the octave, like the flute, it overblows at the twelfth. To produce a chromatic scale on the, clarinet 24 or more keys are needed, and still this does not solve the prnblem of bridging the gap. It is for this reason that many clarinettists still carry with them two instruments, one in A for sharp keys and one in B flat for flat keys. In spite of the two instruments, complex fingering is still involved. There is no uniform system of fingering and one tutor alone liberally offers ten alternative fingerings for one single note.

Technique

The single reed of the clarinet is just as much the ’soul’ of the instrument as is the double reed of the oboe. Most reed for instruments comes from the Mediterranean, from around Frejus in particular. After the reed is cut it is seasoned in the open air for two years or more. A well-seasoned reed should be golden and with a straight and evenly-spaced grain; it must neither absorb too much moisture nor remain rigidly dry. Experiments with synthetic or varnished reeds have proved unsatisfactory. The choice and treatment of reeds varies from player to player, the breadth and the scrape being important factors. By altering lip pressure on the reed the player lengthens or shortens the vibrating portion and alters its natural frequency; this affects the timbre of the instrument. The timbre is also affected by the throat of the player. If the throat is taut and constricted the sound will be pinched. Fingering also affects the timbre of notes. If a note is produced with too much open pipe it will have less character than one coming from a more enclosed tube. A long note may be played with one fingering, while the same note in a rapid passage may well be fingered differently for ease of execution. Degrees of volume are produced by well-supported variations of lung power, but additional projection can be achieved by playing bell up, with the clarinet held forward horizontally or upwards in the manner of jazz musicians, directing the sound into the audience. Single, double, triple and flutter tonguing are all written for, and there is no limit to the leaps and bounds that can be made from one register to another.

Repertoire

The expressive powers of the clarinet are such that its repertoire in chamber, concerto and orchestral music includes works of everlasting importance and value. Mozart, Weber and Brahms were three of the composers who showed a particular fondness for the instrument, the first two writing concerti for it and Brahms his celebrated Clarinet Quintet. Both Mozart and Brahms had the advantage of ‘tame’ clarinettists as friends, and were therefore influenced and encouraged to write for the instrument.

In a number of familiar overtures the clarinet often captures the attention by some outstanding solo, as towards the end of Mendelssohn’s overture The Hebrides (Fingal’s Cave) and near the beginning of Weber’s Der Freischiitz. Apart from overtures, variations frequently provide a fund of interesting passages for different instruments; Elgar’s Enigma Variations are particularly rich in exposed passages for the clarinet. Gershwin’s Rhapsody in Blue begins with a jazz-influenced clarinet glissando.

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