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<\/a>Let me start off by saying I am NOT a clarinet player. When I wanted to learn a musical instrument in elementary school band, my first choice was the saxophone. In hindsight of course, I would be a much better clarinet player these days if I had started on that little pain stick, rather than on the devil’s horn. \ud83d\ude08 <\/p>\nWhen, at my band teacher’s urging, I did learn the clarinet, I focused on bass clarinet, which eventually became my double in university. Therefore it shouldn’t really come as any surprise that my soprano clarinet skills\u2014much like my soprano sax skills\u2014are something that I have not paid enough attention to over the years. <\/p>\n
A few years ago that changed however, when I did a pit gig that required Bb clarinet playing chops. Sadly, I had none. Zero. Zip. Nada. Truth be told, I had forgotten nearly everything I ever knew about any clarinet. I had to relearn almost everything. That left\/right pinkie stuff was as brutal to get my head and fingers around the second time around, as it was the first. <\/p>\n
The Bb clarinet has never been my friend<\/h3>\n
But even worse than the pinkie stuff, going over the break<\/em> for me on a Bb clarinet has never been pretty. Bb to anything above would result in me choking.<\/p>\n I don’t know if it was me or the horns I played\/tried, but whatever it was, I struggled. No amount of exercises in the Klos\u00e9 book, long tones, or even visualisations of my keeping my throat open would do it. About 50% of the time I just choked off the note above the Bb. Why? Don’t know. Didn’t happen on bass clarinet though. Strange…<\/p>\n The Centered-Tone looked and played almost like a brand new instrument. It was hard to believe it was over 60 years old.<\/p>\n The big, fat sound I got from this horn was warm, wooden, yet reedy when I wanted it to be. I could push it like crazy, and it could be LOUD. The intonation was well within acceptable limits\u2014hell, it me playing it, so it’s not like everything would be 100% in tune out of the gate anyway. \ud83d\ude09 \ud83d\ude06 <\/p>\n The seller wanted $1500 for the instrument. At the time I couldn’t quite justify spending that much for a clarinet, so despite loving it, I didn’t buy it. I thought that would be the end of it. <\/p>\n As luck would have it, nearly 18 months later I ended up back in the same shop and the clarinet was still there. Why? Don’t know. Maybe because it’s a full Boehm system it didn’t appeal to many clarinet players. Or maybe, just maybe, it was supposed to end up with me. It is after all the perfect fit with the rest of my 1950s instruments.<\/p>\n Whatever the case, I didn’t let the opportunity pass this time. I bought the little horn and brought it home. That was in December 2019. <\/p>\n I had never wanted a wooden instrument because I have always been afraid of it cracking. Now I had one, so I had my tech teach me the finer points of wooden instrument care. I had David do any work that was necessary on the Centered-Tone. In addition to the regular oiling etc, there were a few pads that needed replacing, and the ring on the bell was loose. He was struck by its lovely condition, and zero evidence of wear. <\/p>\n The instrument also needed a new case. Since replacement cases don’t work for these longer clarinets, I opted to make one myself from a camera flight case. No, it doesn’t look like a clarinet case, but it certainly protects it.<\/p>\n Since I am a bass clarinet player, I am very comfortable having my horn keyed to low Eb. I am also used to having extra trill keys here there and everywhere, thanks to my circa 1950s bass clarinet of unconfirmed German pedigree. This Selmer Centered-Tone just seemed to suit me extremely well.<\/p>\n Then of course there is the tone. This is the first clarinet that I have ever played that provides me with a real<\/em> clarinet sound. By this I mean I sound like a real<\/em> clarinet player, not just simply a hack. Now if this clarinet can do this for me\u2014and I really am a hack\u2014what could it do for someone who is a true clarinetist?<\/p>\n Unfortunately I haven’t been able to find out just how good this instrument can sound in the hands of someone who truly knows what they are doing. Shortly after I got it the big band I play with suspended its rehearsals due to COVID-19. Our clarinetist\/alto sax player was going to play this for one our rehearsal and compare it to his Centered-Tone. Colin’s is not a full Boehm model, so he was really looking forward to comparing the two. (His also has many more miles on it than this one does, which is why I really think wanted to try it.) \ud83d\ude09 <\/p>\n I would be lying if I said I utilised all the extra trill keys. Hell, I’d be hard-pressed to tell you what they are if I didn’t have time to think about it. That said, there are those I use, and those I have learned to use because they are extremely handy. <\/p>\n I do joke about it and say me having this clarinet is a bit like like getting a Ferrari for a 17 year old. Yes, I have crashed and burned on many occasions. Luckily, due to COVID, these have all been in the privacy of my own home. \ud83d\ude06 <\/p>\n According to my musical colleague Steve Sklar, this horn was made in 1954. Steve has written on many clarinet brands extensively on his website Clarinet Perfection<\/a>. This is what he writes in part about Selmer’s Centered-Tone:<\/p>\n The Centered Tone bore changed through the years. Initially it was a cylindrical bore of 15.00mm to 15.10mm. The barrel was 66mm long and had a slightly wider 15.15 bore. After the Q series the bore changed and continued on through the Series9. The Q series brought along the change of longer upper and lower joints of approximately 5mm…<\/p>\n <\/p>\n I\u2019ve had the opportunity to play and setup a nice Selmer Centered Tone \u201cA\u201d, and respectfully compare it to my Bb variant. The Centered Tone clarinets were [the] pinnacle of Selmer\u2019s \u201cJazz\u201d clarinet. Not that it is a jazz clarinet only, as I believe the entire clarinet section in the Boston Symphony also used them back in the day, but Benny Goodman was used extensively in marketing\/sales of this clarinet. And Benny Goodman is known as a jazz player, thus the CT was known as a jazz clarinet.<\/p>\n <\/p>\n But there are two versions of the CT. Earlier versions had a cylindrical upper joint, where as later versions had a tapered upper joint which continued on with the Series 9 model. One can go here for pictures and a quick comparison of a late CT and an early Series 9 by clicking here<\/a>.<\/p>\n <\/p>\n For me, a tapered instrument provides a bit more balance by providing a more consistent back pressure through the entire instrument especially with this \u201clarge bore\u201d clarinet. With cylindrical clarinets I feel as though the resistance lessens as one plays down the instrument. With the tapered bore it becomes more consistent and controlled.<\/p>\n <\/p>\n The CT also has large tone holes. The large bore and large tone holes allows the player to blow as much as they want with the mouthpiece reed combination really being the point of resistance. In other words, if you need to be as loud as possible, the CT was the clarinet to have especially if you don\u2019t have a mic. But of course, on the other end of the spectrum one is able to control the instrument to the finest pianissimos…<\/p>\n <\/p>\n Tonally the CTs are fantastic. Full sounding, and a full deep woody tone. Not as deep sounding as say an Artys but pretty good. The upper register sings clear all the way through altissimo. The large tone holes don\u2019t restrict the tone at all and all notes become clear from top to bottom….<\/p>\n <\/p>\n Standard Boehm CTs normally had nickel plated key work. Enhanced Boehms normally had silver plated key work. Manufacturing dates of 1952 to 1960.<\/p>\n<\/a>That all changed in the summer of 2018 when I play-tested a Selmer Centered-Tone, full Boehm system clarinet that a local shop had on consignment. Going over the break was suddenly no longer an issue. Bb to B; C; C#; D or above was effortless. I didn’t sound like I was choking off the sound anymore. <\/p>\nHorns seem to want to come home with me?<\/h3>\n
<\/a><\/p>\nWhy a full Boehm model?<\/h3>\n
Selmer Centered-Tone full Boehm sytem # R75XX – circa 1954<\/h3>\n
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