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· Distinguished SOTW Member, Forum Contributor 2015-
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Yeah, that's it.

You nailed it.
 

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It is really no harder to play than any other woodwind. You just have to learn it. The clarinet has its roots in the recorder and chalumeau, dating back a lot longer than the sax. It's shape is not conical, so the register (as opposed to octave key) key has a different effect on the air flow, adjusting notes a 12th instead of an octave.
 

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Timelines considered, the question would probably better be put as, "Why isn't the sax more like the clarinet?"

The sax, large bore conical beast that it is, overblows octaves- as does the brass family. Low D, middle D- same fingering plus a vent to help the overblow. The clarinet overblows twelfths.

Different acoustic animals in that regard- and "that regard" is the biggest single driver in fingering. Clarinets simply aren't going to use the same fingering in the clarion as the chalumeau; different notes come out for the same open/ closed hole configurations. Not so on the sax.
 

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The reason why we need to take Vitamin C is because the human body cannot make its own, unlike most other mammals, we need to get it from and external source. You should avoid the synthetic form, known as ascorbic acid, and stick to the real deal, which is from fruits, or Acerola powder or Rose hips also a great source.
 

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This has probably been covered but I couldn't find it. Just wondering why the clarinet wasn't made to have octaves with same fingering as in sax and flute. Just to make it harder to play?:twisted:
No, it's to prevent it actually being a saxophone.
 

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Before the clarinet, there were two instruments, one called chalumeau and the other clairon. Around 1609 Johann Christoph Denner (Nuremburg) added some keys to the chalumeau extending its range by more than two octaves. The new instrument encompassed the range of both the chalumeau and clairon and took the name clarinet. The clarinet eventually put both of its predecessors out of business. Around 1843 Klose adapted the Boehm flute key system to the clarinet improving it even further. The "throat keys" that connect the two registers are still the most difficult part of the horn to master. The beautiful tone of the clarinet makes it well worth the effort required, in my useless opinion.
 

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The fingering I can live with - just learn another fingering chart. In my opinion the greatest difference lies in the "feel" of the mouthpiece. On sax I can "push" and "pull" the tone and add vibrato. Trying the same thing on the clarinet had no effect at all, it just felt "dead".
 

· Über Geek, Forum Contributor 2010 Distinguished SO
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The fingering I can live with - just learn another fingering chart. In my opinion the greatest difference lies in the "feel" of the mouthpiece. On sax I can "push" and "pull" the tone and add vibrato. Trying the same thing on the clarinet had no effect at all, it just felt "dead".
Just as well--these are techniques that should be used sparingly on the clarinet, if at all. Better to develop good sound and let that--and your good musical ideas--carry you.
 

· Distinguished SOTW Columnist/Official SOTW Guru
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You can get those techniques on Clarinet........if your name is Lenny Pickett
 

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that lenny pickett bit is nasty. really subtle, bluesy, beautiful, groovy...
someone wondered in another topic why he doesn't make records, anymore.
guess, when you like playing stuff like that clarinet thing and have a job at SNL, your interest in playing commercial or TOP-style funk which is nice but quite cliché, nowadays, might have become pretty low.
 

· Forum Contributor 2011, SOTW's pedantic pet rodent
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I liked the Lenny Pickett clip as well. Most of that is using a slap tongue technique, is it??
 

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Just as well--these are techniques that should be used sparingly on the clarinet, if at all. Better to develop good sound and let that--and your good musical ideas--carry you.
OK, but I know at least one clarinetist who made a very big hit using these technique:
 
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