Flute, Accordion or Clarinet?. Jo Tomlinson

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      CHAPTER 1

      The Clarinet

      Contributors: Henry Dunn, Amelia Oldfield (introduction

      and case vignette), Catrin Piears-Banton and Colette Salkeld

      Introduction

      Compared with other orchestral instruments, the clarinet is a relative newcomer. It was invented near the beginning of the 18th century and appeared increasingly often in orchestras throughout that century. As a result clarinettists do not have original parts to play in earlier music, although there are many successful transcriptions or arrangements where clarinets might play viola, oboe, French horn, trumpet and sometimes even violin or flute parts if these are not too high. The range of the modern B

clarinet is from D below middle C, to G two-and-a-half octaves above middle C (or higher depending on the player). It can sound smooth and mellow in the lower range, and more clear and piercing higher up. Composers who have written for the clarinet include Mozart, Brahms, Poulenc, Gershwin, Copland and Finzi. In addition to concertos and orchestral parts, the clarinet features in a wide range of chamber music, as well in wind band music, and clarinet choirs, which include bass and contrabass clarinets, alto clarinets and small high-pitched E

clarinets. The instrument is also prominent in jazz, folk music and traditional Klezmer music.

      The clarinet has a mouthpiece with a single reed, which has to be moist for the instrument to play effectively. When using the clarinet in music therapy, this can be a disadvantage if the music therapist wants to pick up the instrument to respond quickly to a client, as the reed might have dried out. It is possible to use plastic reeds to overcome this problem, but this changes the quality of the sound.

      Most clarinet playing music therapists use mainly B

instruments in their clinical work, although occasionally bass clarinets make an appearance because of their particularly appealing sound in the lower register. Henry Dunn mentions his interest in jazz improvisation in his contribution.

      The clarinet is a transposing instrument where, for example, on the B

instrument a written C sounds a tone lower: B

. In addition, unlike the flute or the oboe, the fingering is different in each octave. To deal with these problems orchestral and chamber music clarinet parts are often written for both B

and A clarinets, and most classical players will have a pair of instruments and can quickly swap from one to the other. However, since most music therapists only bring B

clarinets to sessions, when improvising they have to get used to transposing as well as overcoming the technical difficulties of using different fingerings in different octaves. It is also possible to get clarinets in C, but these are comparatively rare.

      Figure 1.1 Clarinet range (B

, A and E

)

      The clarinet is a popular instrument and is played by many music therapists, so it has not been difficult to find contributors for this chapter. Both Salkeld (2008) and Oldfield (2006a and 2006b) have written before about how they have used the clarinet in their clinical music therapy practice. Salkeld matches her client’s energetic and loud music on the buffalo drum by playing

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