Editing Clarinet (section)

==Development==
[[File:Applicatio auf das Clarinett (1).jpg|thumb|left|Two-key clarinet with fingering chart, from [[Museum musicum theoreticalo practicum]], 1732]]
[[File:Diderot clarinette.jpg|thumb|Denner clarinet]]
[[File:Stadler-Klarinette mit Replica.jpg|thumb|Sketch of the [[basset clarinet]] used by [[Anton Stadler]] since 1789 and a replica]]
The modern clarinet developed from a [[Baroque music|Baroque]] instrument called the [[chalumeau]]. This instrument was similar to a [[Recorder (musical instrument)|recorder]], but with a single-reed mouthpiece and a cylindrical bore. Lacking a [[register key]], it was played mainly in its fundamental register, with a limited range of about one and a half octaves. It had eight finger holes, like a recorder, and a written pitch range from F<sub>3</sub> to G<sub>4</sub>. At this time, contrary to modern practice, the reed was placed in contact with the upper lip.<ref name="karp">{{cite journal |last=Karp |first=Cary |year=1986 |title=The early history of the clarinet and chalumeau |journal=Early Music |volume=14 |issue=4 |pages=545–551 |doi=10.1093/earlyj/14.4.545}}</ref>
Around the beginning of the 18th century the German instrument maker [[Johann Christoph Denner]] (or possibly his son Jacob Denner)<ref name="Hoeprich">{{cite journal |last1=Hoeprich |first1=T Eric |year=1981 |title=A three-key clarinet by J.C. Denner |url=http://woodwindsresourcefile.weebly.com/uploads/1/4/0/3/14034613/a_three-key_clarinet.pdf |journal=The Galpin Society Journal |volume=34 |jstor=841468 |pages=21–32 |doi=10.2307/841468 }}</ref> equipped a chalumeau in the alto register{{Sfn|Pino|1998|pp=198–199}} with two keys, one of which enabled access to a higher register. This second register did not begin an octave above the first, as with other woodwind instruments, but started an octave and a perfect fifth higher than the first. A second key, at the top, extended the range of the first register to A<sub>4</sub> and, together with the register key, to B{{music|flat}}<sub>4</sub>. Later, Denner lengthened the bell and provided it with a third key to extend the pitch range down to E<sub>3</sub>.<ref name="Hoeprich"/>

After Denner's innovations, other makers added keys to improve [[Musical tuning|tuning]] and facilitate fingerings<ref name="karp" /> and the chalumeau fell into disuse. The clarinet of the [[Classical period (music)|Classical period]], as used by [[Wolfgang Amadeus Mozart|Mozart]], typically had five keys.{{Sfn|Shackleton|1995}} Mozart suggested extending the clarinet downwards by four semitones to C{{Sub|3}}, which resulted in the [[basset clarinet]] that was about {{convert|18|cm}} longer, made first by Theodor Lotz.<ref>{{cite encyclopedia|first=Christian|last=Fastl|date=21 June 2021| url=https://www.musiklexikon.ac.at/ml/musik_L/Lotz_Theodor.xml|title=Theodor Lotz|encyclopedia=Austrian Music Encyclopaedia}}</ref> In 1791 Mozart composed the [[Clarinet Concerto (Mozart)|Concerto for Clarinet and Orchestra in A major]] for this instrument, with passages ranging down to C<sub>3</sub>.<ref name="hacker">{{cite journal |last=Hacker | first = Alan |title=Mozart and the basset clarinet |journal=The Musical Times |volume=110 |issue=1514 |date=April 1969 |pages=359–362 |doi=10.2307/951470 |jstor=951470}}</ref> By the time of [[Ludwig van Beethoven|Beethoven]] ({{Circa|1780–1820}}), the clarinet was a fixed member in the orchestra.{{Sfn|Pino|1998|p=204}}

[[File:Countersunk and normal tone hole clarinet.jpg|thumb|left|Tone holes - countersunk and straight]]
The number of keys was limited because their felt pads did not seal tightly. [[Iwan Müller]] invented the stuffed pad, originally made of [[kid leather]]. These in combination with countersunk tone holes sealed the keyholes sufficiently to permit the use of an increased number of keys. In 1812 Müller presented a clarinet with seven finger holes and thirteen keys, which he called "clarinet omnitonic" since it was capable of playing in all keys. It was no longer necessary to use differently tuned clarinets for a different keys.{{sfn|Shackleton|1995}} Müller is also considered the inventor of the metal [[Ligature (instrument)|ligature]] and the [[thumb rest]].<ref name="Northern Illinois University">{{cite web | title=Development of the Clarinet |first= Gregory|last= Barrett |date=1999| publisher=Northern Illinois University | url=https://www.niu.edu/gbarrett/resources/development.shtml | accessdate=2 January 2023}}</ref> During this period the typical embouchure also changed, orienting the mouthpiece with the reed facing downward. This was first recommended in 1782 and became standard by the 1830s.<ref>{{cite journal|last=Rice|first=Albert|title=Clarinet Fingering Charts, 1732–1816|journal=[[The Galpin Society Journal]]|doi=10.2307/841137|volume=37|date=March 1984|pages=16–41}}</ref>

In the late 1830s,<ref name="ridley"/> German flute maker [[Theobald Böhm]] invented a [[Boehm system|ring and axle key system]] for the flute. This key system was first used on the clarinet between 1839 and 1843 by French clarinetist [[Hyacinthe Klosé]] in collaboration with instrument maker [[Louis Auguste Buffet]]. Their design introduced needle springs for the axles, and the ring keys simplified some complicated fingering patterns. The inventors called this the [[Boehm system (clarinet)|Boehm clarinet]], although Böhm was not involved in its development and the system differed from the one used on the flute.<ref name="ridley" />{{sfn|Page et al.|2015}} Other key systems have been developed, many built around modifications to the basic Boehm system, including the Full Boehm, [[Mazzeo system|Mazzeo]], McIntyre,{{Sfn|Ellsworth|2015|p=68}} the Benade NX,<ref>{{cite journal |last=Benade |first=Arthur H. |author2=Keefe, Douglas H.|title=The physics of a new clarinet design |journal=The Galpin Society Journal |volume=49 |date=March 1996 |pages=113–142 |doi=10.2307/842396 |jstor=842396}}</ref> and the [[Reform Boehm system (clarinet)|Reform Boehm system]], which combined Boehm-system keywork with a German mouthpiece and bore.{{Sfn|Hoeprich|2008|pp=5, 211}}

The [[Albert system|Albert clarinet]] was developed by [[Eugène Albert]] in 1848. This model was based on the Müller clarinet with some changes to keywork, and was also known as the "simple system".{{sfn|Hoeprich|2008|p=183}} It included a "spectacle key" patented by [[Adolphe Sax]] and rollers to improve little-finger movement. After 1861, a "patent C sharp" key developed by Joseph Tyler was added to other clarinet models.<ref>{{cite web|url=https://web.archive.org/web/20061116191044/http://www.music.ed.ac.uk/euchmi/ugw/ugwf1j.html|accessdate=8 January 2023|publisher=University of Edinburgh|title=The Simple System}}</ref> Improved versions of Albert clarinets were built in Belgium and France for export to the UK and the US.{{sfn|Hoeprich|2008|p=184}}

Around 1860, clarinettist [[Carl Baermann]] and instrument maker Georg Ottensteiner developed the patented Baermann/Ottensteiner clarinet. This instrument had new connecting levers, allowing multiple fingering options to operate some of the pads.<ref>{{cite web|publisher=National Music Museum |title=Clarinets in C, B-flat, and A by Georg Ottensteiner, Munich, ca. 1860–1879 |url=http://collections.nmmusd.org/Clarinets/Ottensteiner/Ottensteinerclarinets.html |date=10 March 2016|archive-date=9 July 2021 |archive-url=https://web.archive.org/web/20210709182930/http://collections.nmmusd.org/Clarinets/Ottensteiner/Ottensteinerclarinets.html |url-status=dead}}</ref> In the early 20th century, the German clarinetist and clarinet maker Oskar Oehler presented a clarinet using similar fingerings to the Baermann instrument, with significantly more toneholes than the Böhm model.{{sfn|Shackleton|1995}} The new clarinet was called the [[Oehler system]] clarinet or German clarinet, while the Böhm clarinet has since been called the French clarinet.<ref name=systems>{{cite magazine|url=https://clarinet.org/collaboration-with-boehm-and-oehler-clarinets/|magazine=The Clarinet|date=4 March 2021|last=Harrie|first=Jessica|volume=48|issue=2|title=Collaboration with Boehm and Oehler clarinets}}</ref> The French clarinet differs from the German not only in fingering but also in sound. [[Richard Strauss]] noted that "French clarinets have a flat, nasal tone, while German ones approximate the singing voice".<ref>Quoted in {{harvnb|Hoeprich|2008|p=5}}</ref> Among modern instruments the difference is smaller, although intonation differences persist.<ref name=systems/> The use of Oehler clarinets has continued in German and Austrian orchestras.{{sfn|Shackleton|1995}}<ref>{{cite web|title=The Structure of the Clarinet &#91;Experiment&#93;, The Boehm system and the Oehler system|publisher=Yamaha|url=https://www.yamaha.com/en/musical_instrument_guide/clarinet/mechanism/mechanism003.html|accessdate=8 December 2022}}</ref>

Today the Boehm system is standard everywhere except in Germany and Austria, where the Oehler clarinet is still used.{{sfn|Pino|1998|p=212}} Some contemporary Dixieland players continue to use Albert system clarinets.{{sfn|Shackleton|1995}}{{sfn|Brown|1995}} The Reform Boehm system is also popular in the Netherlands.{{sfn|Hoeprich|2008|p=211}}

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<div style="background:#e3e3e3">
<gallery mode="packed" class="float-center"  heights="550" perrow="11" caption="Clarinets with different arrangements of keys and holes" >
clarinet 4 key anon Bate (2).jpg|Early Clarinet with 4 keys ({{Circa|1760}}).
C-klarinette-lauriol-bordeaux.jpg|Iwan Müller clarinet with 13 keys and leather pads, developed in 1809.
Albert-Klarinette.jpg|Albert clarinet designed {{Circa|1850}} by Eugène Albert, intermediate between the Müller and Oehler clarinets. 
Baermann-System.jpg|Baermann clarinet, {{Circa|1870}}, intermediate between the Müller and Oehler clarinets.
Leitner+Kraus 320 b.jpg|Oehler clarinet with a cover on the middle tone hole of the lower joint, dev. 1905 by Oscar Oehler, and with bell mechanism added later to improve deep E and F
Yamaha Clarinet YCL-457II-22 (8K).jpg|Standard German clarinet without cover or bell mechanism.
BC E13 .jpg|French Clarinet (Original Boehm with 17 keys and 6 rings). Developed {{Circa|1843}} by Hyacinthe Klosé and Louis Auguste Buffet.
Patricola CL4.jpg|Full Boehm clarinet with 21 keys and 7 rings developed {{Circa|1870}}.
Wurlitzer RefBoehm 185.jpg|Reform Boehm clarinet with 19 keys and 7 rings, developed {{Circa|1949}} by  [[Fritz Wurlitzer]].
</gallery> </div>
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