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Playing Techniques of the Baroque Clarinet
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Abstract
This chapter discusses the earliest published sources on playing the two- and three-key clarinets written by Majer (1732), Eisel (1738), Berg (1782), and an anonymous writer (ca. 1810). The topics covered by these authors are compass, reed position, embouchure, articulation, hand position, fingerings, clefs, and makers’ stamps. Other authors cited who write about the clarinet are Walther (1732), Diderot and d’Alembert (1753), Roeser (1764), Miklin’s letter to Hülphers (1772), Vanderhagen (1785), Lefèvre (1802), Backofen (ca. 1803), Fröhlich (1811–1812), and Willman (1826). A mezzotint (ca. 1750–1760) by Johann Elias Ridinger illustrates a carefully drawn three-key clarinet with details of construction and a player using a contemporary fingering. Birsak’s (1973) observations on the tuning and pitch of some Baroque clarinets are discussed.
Title: Playing Techniques of the Baroque Clarinet
Description:
Abstract
This chapter discusses the earliest published sources on playing the two- and three-key clarinets written by Majer (1732), Eisel (1738), Berg (1782), and an anonymous writer (ca.
1810).
The topics covered by these authors are compass, reed position, embouchure, articulation, hand position, fingerings, clefs, and makers’ stamps.
Other authors cited who write about the clarinet are Walther (1732), Diderot and d’Alembert (1753), Roeser (1764), Miklin’s letter to Hülphers (1772), Vanderhagen (1785), Lefèvre (1802), Backofen (ca.
1803), Fröhlich (1811–1812), and Willman (1826).
A mezzotint (ca.
1750–1760) by Johann Elias Ridinger illustrates a carefully drawn three-key clarinet with details of construction and a player using a contemporary fingering.
Birsak’s (1973) observations on the tuning and pitch of some Baroque clarinets are discussed.
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