History
Single reed instruments have existed since medieval times, but the modern clarinet is derived from a baroque-era instrument called the chalumeau. The chalumeau was similar to the recorder, but had a single reed like the clarinet. The range of notes was limited however, and around 1700 one of the keys was modified to become a 'register key' (a key that raises the register of the notes so that higher octaves can be played) and thus the first clarinet was born. As the clarinet gradually improved, it was incorporated into the orchestra, and composers (Mozart especially) wrote many works for the instrument.
Note Production
The clarinet is a single reed instrument. Unlike the oboe and bassoon where two reeds vibrate together, a single reed produces sound by the reed and mouthpiece vibrating together. Just like the other members of the woodwind family, the length of the resonating chamber, and in turn the pitch of the notes, is altered with the use of keys along the body of the instrument. Embouchure again plays an important role in note production.
The key system on the clarinet is directly inspired by, but is not the same as, the Boehm System, invented for use on flutes. This system is now standard, and is used almost everywhere in the world (notably except Germany and Austria, who use the Oehler System).
Construction
The clarinet has several parts, connected together by cork covered joints called tenons. There is the mouthpiece, which is attached to the reed with a metal band called the ligature. Next there is the barrel, which can be (and often is) swapped out for aftermarket models of slightly different shapes and lengths that slightly adjust the tuning of the instrument. The barrel is connected to the upper joint, and this to the lower joint. The upper and lower joints are where the keywork is found. The clarinet, like the oboe and bassoon, ends with the bell.
Playing Techniques
The clarinet is a very agile instrument, but is hampered slightly by the complexity of its keywork, and therefore difficulty of fingering.
The previously mentioned techniques for the other woodwinds are all still relevant here. The clarinet is better suited to particular techniques than the double reed instruments, pitch-bending can be used as an example. Relatively large pitch alterations can be made downwards, but only small intervals upwards. This technique is accomplished with alteration to embouchure.
Some techniques employed by modern composers include placing the teeth on the reed, removing the barrel and upper joint entirely, and playing without the mouthpiece using flute or trumpet embouchure.
From Samuel Adler's The Study of Orchestration 3rd Ed. :
- The 'break' between Bb4 and BNatural4 in terms of fingering presents problems for all but the most expert players.
- Good clarinetists can play from pianissimo to fortissimo at any part of the clarinets range.
- For predominantly flat keys, you should score the Bb clarinet. For sharp keys, the A clarinet, although in 20th century scores there are more Bb clarinets represented regardless of key, especially as the tonal elements has been obscured in much of this music.
- The clarinet is equally effective in both lyrical and fast, virtuosic passages in all registers.
- The clarinets staccato is less pointed than the oboe, but more than the flute.
- Has two effects better performed than any other woodwind are the niente attack (sounding from almost silence to a piano dynamic then fades to nothing on the same note), and the playing of subtones, a ppp dynamic sounding especially quiet and ethereal in the lowest register of the clarinet.
- All trills and tremolos can be negotiated on the clarinet, larger-interval tremolos are difficult above the stave, but certainly possible.
- Glissandi are easily performed, except over the break. It is also easier to glissando above the break than below. Glissandi can only be played upwards.
- Microtones can be performed by bending the note downwards by changing the embouchure.
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