Ain't Misbehavin'
~~ at the Solar Pioneer Party ~~ Northern California, 2017 with Ed Witkin and Ian Woofenden |
🎵 Windy's Music Page
After a 27-year career in solar manufacturing, I returned to my lifelong fascination with woodwind instruments. I've been making flutes and doing instrument repairs, fine-tuning, and custom adaptations for over 20 years. BIGMouthPiece for Alto Clarinet 👉 http://www.windydankoff.com/alto-clarinet-mouthpiece.html BLACK • HOLE Clarinets in C and Bb BELOW is a story of my clarinet adventures, presenting my "impedance theory" of energy-efficient (free-blowing) instruments. The concept parallels my understanding of energy-efficiency in power systems. The following is written for clarinetists and instrument technicians on the quest for a more "user-friendly" instrument. |
~~~~~~ The BLACK • HOLE C Clarinet ~~~~~~
There is a niche market for clarinets in the key of C (rather than the normal Bb). They allow the musician to read and think in standard concert key, like most instruments. They also blend naturally with stringed instruments, like I'm doing in the photo. I found a unique way to offer these instruments for sale.
These C clarinets are from China, reborn in my New Mexico workshop. I owned the well-known Ridenour C clarinet. But I bought one of these out of curiosity, and I was amazed ... it was a better instrument and fit my large hands better. HOWEVER, there are defects and mis-tunings that beg for attention. I spend about 5 hours refining each instrument to a standard of concert-level performance. The tone is exquisite! Enjoy the musical liberation of playing a C instrument!
PRICE: $650 Warranty is 1 year / trial period 14 days. Specify if player has very small or XL hands so I can adjust key positions.
IF YOU ALREADY OWN a Ridenour or other Chinese C clarinet, I'll be happy to fine-tune it to your liking at an hourly rate of $75.
The image below shows an example of the work log that I keep on every C clarinet. This helps me to plan the project, and do the work most efficiently.
C clarinets come in REALLY handy for playing in church, playing flute parts in a pit orchestra, playing in a klezmer group or polka band. Now you can get a great playing one for a reasonable price! … Bottom line: Look what a wonderful instrument you can get for a bargain price! –– Phil Pedler, Clarinetpages.net: Reviews, Chinese hard rubber clarinets. He reviewed it after my Fine-Tuning.
Your results with the clarinet are very solid. … I (with my Vandoren B48 dot 88 mouthpiece and Vandoren 2.5 reed) stay squarely in tune through most of the horn …. so I look to use your C when Beethoven (or Dvorak or Prokofiev or the others) and I next meet. Thank you very much for your work! I readily recommend it to others reading this note. –– Mark M., Connecticut USA
Hi Windy. The C horn plays nicely. I have shown her to friends and my band director. Thanks for doing great job! –– Dan F., Colorado USA
Your results with the clarinet are very solid. … I (with my Vandoren B48 dot 88 mouthpiece and Vandoren 2.5 reed) stay squarely in tune through most of the horn …. so I look to use your C when Beethoven (or Dvorak or Prokofiev or the others) and I next meet. Thank you very much for your work! I readily recommend it to others reading this note. –– Mark M., Connecticut USA
Hi Windy. The C horn plays nicely. I have shown her to friends and my band director. Thanks for doing great job! –– Dan F., Colorado USA
The User-Friendly Clarinet
Free-blowing, in-tune, wood-free, and sax-player friendly
Bb and C versions
By Windy Dankoff September 2020
Background
Eastern European music got me hooked on the clarinet’s fluid and soulful sound. That was in 2016. At the age of 12, I switched from clarinet to sax. But now, to my amazement, I craved a clarinet. But I have a weak jaw joint. Playing a reed hurts my head if it isn’t extra-easy to blow (low resistance). So, I bought a new clarinet, and asked for the easiest-blowing mouthpiece. It wasn’t. I asked distributors, makers, famous technicians, Google past midnight … I couldn’t get a straight answer. I had to figure it out for myself. I soon discovered that it’s not about the mouthpiece. The instrument is a synergistic system in which everything matters.
Over a four-year period, I found ways to optimize the clarinet for less blowing resistance and less fatigue, while maintaining and even improving its sound. I also developed modifications for some sax-like fingerings. My clients include beginners, re-beginners, and advanced players, from nine to eighty years of age.
Here’s proof that blowing resistance is a product of the whole instrument. If you remove your mouthpiece, then blow only into your clarinet, you feel no resistance. You may deduce that the resistance is all in the mouthpiece. But, try your mouthpiece on other clarinets. You’ll find that some resist more than others. It’s because the clarinet resists vibratingair. This is called impedance.
Four years of research
Can the impedance be reduced, and still maintain good performance? It took me two years to find the answer – YES. I took two more years to understand the instruments hole-by-hole, and as a whole, so I can repeat my results. Surely others have explored this, but I found nothing written about it, nor anyone offering to supply low-resistance clarinets to people who have trouble with normal ones.
Soft reed, large bore, and low-impedance
Low impedance starts with a soft reed BUT it plays flat and lacks focus and control. A soft reed wants to pass abundant air at low pressure. A typical clarinet wants to receive less air at greater pressure. The energy coupling is inefficient, like a bicycle with the wrong gear ratio. This is called an impedance mismatch. For the horn to accept the action of a soft, low-impedance reed, the entire instrument must match the lower impedance, top to bottom. A free-blowing clarinet has a low-impedance energy path, with few speed bumps, and smooth exit ramps.
Some clarinets have a bore (inside diameter) that is larger than average. That helps reduce impedance. But equally important, some tone holes must be larger and/or undercut, and some pads need to open wider. Large-bore clarinets were common before the 1960s. Then, Buffet refined their smaller-bore designs, which were favored for classical music. They gained market dominance as the “best” path to advancement. Other manufacturers followed their lead. Older designs, bad and good, went out of production. The ones that remain famous, tend to be expensive. Even then, not all have low-impedance overall. And, they are made of wood, and old wood can be risky.
Discovering low-impedance Bb and C clarinets
I found some non-wood large-bore clarinets from the 1940’s that are easy to blow, well-tuned, and sounded amazing. I kept collecting and studying them to see if I could make them better. They are made of ebonite (hard rubber). I also bought an ebonite C clarinet from China, and I was amazed. I’ve collected mouthpieces and barrels, calipers, reamers and other tools. I draw on my experience designing and making flutes and repairing woodwinds, plus a lifetime of shop experience. After two years, I optimized a free-blowing Bb and a C. I can play them for hours without hurting my weak jaw. I found them to be user-friendly in other ways too.
Harmonic integrity = simpler intonation AND easier blowing
Accuracy of pitch is called intonation. The intonation of large-bore clarinets (the good ones) comes naturally, using simple fingerings. Complex “resonance fingerings” used by classical players are less helpful and not necessary. The overtones are well tuned naturally. Tuned overtones reinforce the sound, so less energy is lost. So, it is easier to blow and easier to play in tune. Your embouchure can stay nearly constant throughout the range. It is a blessing for players without much formal training, sax players doubling on clarinet, folks with physical limitations, and anyone who wants to ease the journey.
More sax-like
The large bore strengthens the throat tones (top of the low register). I expand on that capacity in several ways. I refine the “trill keys” B and C to work as primary notes, like the left palm keys on a sax. They sound beautiful because they extend the delicate expressive quality of throat range. They often liberate you from jumping to the 2nd register (over the break) where you lose tonal flexibility. I enable another alternate fingering that’s familiar to sax and flute players – the Eb/Bb using the right forefinger. On most clarinets, that fingering is very sharp. I correct it so you can use it routinely.
Expansive and expressive
An optimized large bore clarinet has a wide dynamic range; you can play loud, but also soft without losing quality. You get a wide range of color and expression that’s great for traditional and modern jazz, Balkan, gypsy, klezmer, you name it. If a modern clarinet sounds like a Hersey bar, this is more like artisanal 85% cocoa. Again, user-friendly qualities and great sound require more than just a large bore. The whole instrument needs to be optimized.
Hard rubber (ebonite) instead of wood
I’m lazy, so I eliminate the maintenance and risk of wood. Hard rubber (ebonite) was the alternative before the age of plastic. Unlike plastic, it sounds great, even amazing. After all, it is the favorite material for great mouthpieces. An ebonite clarinet can be left wet in a hot or freezing car, and it won’t crack. And, it’s making a comeback. (Reference: Ridenour, The Grenadilla Myth).
The C clarinet
A clarinet in key of C (concert pitch) is user-friendly because you can read C music. And, it’s easier in many keys that are common in string music. The modern C clarinet is a low-impedance design because it use a standard Bb mouthpiece. The bore is sized to the mouthpiece even though the horn is shorter. It approximates the proportions (and behavior) of a seriously large-bore Bb. C clarinets of ebonite are only produced in China. They are well made, but they need finish work to refine them. I play one that I fine-tuned to concert quality. I enjoy its bright bouncy sound, and play it more than my Bb. My clients and I enjoy accompanying other instruments, with no need to transpose.
The Pruefer Silver Throat, 1940-55
My favorite large-bore Bb is the vintage Pruefer Silver Throat (PST). It’s ebonite, and the upper joint is lined with metal. It has a very large bottom bore with extra-large, tone holes. It’s a unique instrument, designed to carry power in a field of brass. Pruefer was one of the best American clarinet makers before 1960. It was an advanced instrument in the school band market (in 1942, it was priced at today’s equivalent of $1700). It’s said to have a cult following among jazz musicians. I resurrected one, and I was hooked. I have a stock of PSTs, some of which sat in the closet for 50 or 60 years.
The internet reveals opinions of the PST ranging from useless to the best jazz horn ever. I studied nine PSTs made between 1940 and 1960, and found reasons for the mixed reputation: (1) The PST needs extra-wide pad openings at the bottom. Repair technicians rarely see this, so many overhauled ones are weakened. (2) Versions made after 1955 have a smaller bottom bore. They play best only with harder reeds. (3) Only those late versions carry the Silver Throat inscription, and most are inferior. (4) Many barrels were not bored optimally. Knowing all this, I have learned how to bring out the best in a PST. The vintage PST and the Chinese C seem like the “odd couple”, but they are well-matched in playing characteristics.
User-friendly optimizing for Bb and C clarinets
Optimizing starts with a large-bore Bb or C, and may include any of the following changes as needed:
Enlarging the entrance to the upper joint
Some modified tone holes, pads, or action, especially to tune top and bottom
Trill keys B and C optimized to use as primary notes
Optimized thumb-key Bb
Improved Eb/Bb when using right forefinger
Fine synthetic and/or leather pads, resilient and reliable
Ergonomic improvements
Springs adjusted for light and balanced action
Ab and other keys may be adjusted to small or large hands
Luxury thumb rest option
Custom requests
Barrel modifications and tuning
Barrels are usually bored to match the upper joint. On the large-bore Bb and C clarinets, I discovered that a further enlargement of the bore can be transformational. I use reamers to remove about a hair’s width of material. I continue the cut tapering into the upper joint. The horn goes a bit flat. When I correct the pitch, it breathes easier and comes fully to life. Throat tones are greatly improved, including Bb.
A player will often pull out a barrel for tuning. This produces an internal gap that can dull certain notes. But in large bore clarinets, the pull-out gap does not have such side effects. Most players won’t need a second, longer barrel. My tunings tend slightly sharp, for flexibility while playing, and to allow adjustment. Tell me if you play outdoors in high/low temperatures, and I may include a second barrel.
Standard mouthpieces are fine!
Here is a fortunate twist of history – Today’s mouthpieces still follow the design standards of the 1950s. They are nativeto large-bore instruments! Modern clarinets use a reverse-tapered barrel that adapts them to the modern bore. (Reference: Clark Fobes, Tuning and Voicing the Clarinet.) So, your favorite mouthpiece will work fine. But, don’t use a modern barrel. I find good, normal classical mouthpieces to be just right. So-called “jazz” pieces are too wild.
Availability
Occasionally, I produce a user-friendly PST or C clarinet for sale. Some clients have bought both. They join me in being twice as happy. I also have a select stock of my favorite vintage mouthpieces, for easy blowing and amazing tone.
A review of my Black • Hole Pruefer Silver Throat
With any strength reed, the Pruefer clarinet played very well in tune throughout the lower register and the throat tones. I was impressed as to how well in tune the throat tones were. Those are usually the hardest to keep in tune on most clarinets. As with most clarinets, it wanted to go sharp on the altissimo notes above high C (2 bars above staff), however opening my throat more while blowing easily, brought them right into tune. I am impressed with the Pruefer clarinet. Other than playing a little brighter it holds up well against my Buffet R13. I was amazed at throat Bb and A. They’re usually crappy, but they come right out good. — Dave D., Santa Fe
INCREDIBLE synthetic reeds
Many serious players use synthetic reeds, some exclusively. They hold constant under all conditions. Some players get more than a year of regular use. I'm currently using Fibracell reeds.
Mouthpieces, and MATCHING to the reed
When switching to synthetic, I tried a mouthpiece that was a previous favorite, and it was better than ever! So, I don't just pick a favorite MP, and then a favorite reed. I pick the best PAIR. The curve of the MP facing should match to the curve of the vibrating reed. You can’t see it, but you will feel it! I collect vintage MPs so I can experiment. Now, my clarinet sales usually include a soft synthetic reed and a select MP to match. I’ve have had no returns in the last two years.
References and acknowledgements
Thanks to Phil Pedler (The ClarinetPages.info), Jared De Leon (Wind Instrument Repairs) and Clark Fobes, and others on The Clarinet Board and Sax-on-the-Web, for sharing their experience.
I am a frequent contributor to: The Clarinet Pages
Put a BLACK • HOLE in YOUR galaxy!
Free-blowing, in-tune, wood-free, and sax-player friendly
Bb and C versions
By Windy Dankoff September 2020
Background
Eastern European music got me hooked on the clarinet’s fluid and soulful sound. That was in 2016. At the age of 12, I switched from clarinet to sax. But now, to my amazement, I craved a clarinet. But I have a weak jaw joint. Playing a reed hurts my head if it isn’t extra-easy to blow (low resistance). So, I bought a new clarinet, and asked for the easiest-blowing mouthpiece. It wasn’t. I asked distributors, makers, famous technicians, Google past midnight … I couldn’t get a straight answer. I had to figure it out for myself. I soon discovered that it’s not about the mouthpiece. The instrument is a synergistic system in which everything matters.
Over a four-year period, I found ways to optimize the clarinet for less blowing resistance and less fatigue, while maintaining and even improving its sound. I also developed modifications for some sax-like fingerings. My clients include beginners, re-beginners, and advanced players, from nine to eighty years of age.
Here’s proof that blowing resistance is a product of the whole instrument. If you remove your mouthpiece, then blow only into your clarinet, you feel no resistance. You may deduce that the resistance is all in the mouthpiece. But, try your mouthpiece on other clarinets. You’ll find that some resist more than others. It’s because the clarinet resists vibratingair. This is called impedance.
Four years of research
Can the impedance be reduced, and still maintain good performance? It took me two years to find the answer – YES. I took two more years to understand the instruments hole-by-hole, and as a whole, so I can repeat my results. Surely others have explored this, but I found nothing written about it, nor anyone offering to supply low-resistance clarinets to people who have trouble with normal ones.
Soft reed, large bore, and low-impedance
Low impedance starts with a soft reed BUT it plays flat and lacks focus and control. A soft reed wants to pass abundant air at low pressure. A typical clarinet wants to receive less air at greater pressure. The energy coupling is inefficient, like a bicycle with the wrong gear ratio. This is called an impedance mismatch. For the horn to accept the action of a soft, low-impedance reed, the entire instrument must match the lower impedance, top to bottom. A free-blowing clarinet has a low-impedance energy path, with few speed bumps, and smooth exit ramps.
Some clarinets have a bore (inside diameter) that is larger than average. That helps reduce impedance. But equally important, some tone holes must be larger and/or undercut, and some pads need to open wider. Large-bore clarinets were common before the 1960s. Then, Buffet refined their smaller-bore designs, which were favored for classical music. They gained market dominance as the “best” path to advancement. Other manufacturers followed their lead. Older designs, bad and good, went out of production. The ones that remain famous, tend to be expensive. Even then, not all have low-impedance overall. And, they are made of wood, and old wood can be risky.
Discovering low-impedance Bb and C clarinets
I found some non-wood large-bore clarinets from the 1940’s that are easy to blow, well-tuned, and sounded amazing. I kept collecting and studying them to see if I could make them better. They are made of ebonite (hard rubber). I also bought an ebonite C clarinet from China, and I was amazed. I’ve collected mouthpieces and barrels, calipers, reamers and other tools. I draw on my experience designing and making flutes and repairing woodwinds, plus a lifetime of shop experience. After two years, I optimized a free-blowing Bb and a C. I can play them for hours without hurting my weak jaw. I found them to be user-friendly in other ways too.
Harmonic integrity = simpler intonation AND easier blowing
Accuracy of pitch is called intonation. The intonation of large-bore clarinets (the good ones) comes naturally, using simple fingerings. Complex “resonance fingerings” used by classical players are less helpful and not necessary. The overtones are well tuned naturally. Tuned overtones reinforce the sound, so less energy is lost. So, it is easier to blow and easier to play in tune. Your embouchure can stay nearly constant throughout the range. It is a blessing for players without much formal training, sax players doubling on clarinet, folks with physical limitations, and anyone who wants to ease the journey.
More sax-like
The large bore strengthens the throat tones (top of the low register). I expand on that capacity in several ways. I refine the “trill keys” B and C to work as primary notes, like the left palm keys on a sax. They sound beautiful because they extend the delicate expressive quality of throat range. They often liberate you from jumping to the 2nd register (over the break) where you lose tonal flexibility. I enable another alternate fingering that’s familiar to sax and flute players – the Eb/Bb using the right forefinger. On most clarinets, that fingering is very sharp. I correct it so you can use it routinely.
Expansive and expressive
An optimized large bore clarinet has a wide dynamic range; you can play loud, but also soft without losing quality. You get a wide range of color and expression that’s great for traditional and modern jazz, Balkan, gypsy, klezmer, you name it. If a modern clarinet sounds like a Hersey bar, this is more like artisanal 85% cocoa. Again, user-friendly qualities and great sound require more than just a large bore. The whole instrument needs to be optimized.
Hard rubber (ebonite) instead of wood
I’m lazy, so I eliminate the maintenance and risk of wood. Hard rubber (ebonite) was the alternative before the age of plastic. Unlike plastic, it sounds great, even amazing. After all, it is the favorite material for great mouthpieces. An ebonite clarinet can be left wet in a hot or freezing car, and it won’t crack. And, it’s making a comeback. (Reference: Ridenour, The Grenadilla Myth).
The C clarinet
A clarinet in key of C (concert pitch) is user-friendly because you can read C music. And, it’s easier in many keys that are common in string music. The modern C clarinet is a low-impedance design because it use a standard Bb mouthpiece. The bore is sized to the mouthpiece even though the horn is shorter. It approximates the proportions (and behavior) of a seriously large-bore Bb. C clarinets of ebonite are only produced in China. They are well made, but they need finish work to refine them. I play one that I fine-tuned to concert quality. I enjoy its bright bouncy sound, and play it more than my Bb. My clients and I enjoy accompanying other instruments, with no need to transpose.
The Pruefer Silver Throat, 1940-55
My favorite large-bore Bb is the vintage Pruefer Silver Throat (PST). It’s ebonite, and the upper joint is lined with metal. It has a very large bottom bore with extra-large, tone holes. It’s a unique instrument, designed to carry power in a field of brass. Pruefer was one of the best American clarinet makers before 1960. It was an advanced instrument in the school band market (in 1942, it was priced at today’s equivalent of $1700). It’s said to have a cult following among jazz musicians. I resurrected one, and I was hooked. I have a stock of PSTs, some of which sat in the closet for 50 or 60 years.
The internet reveals opinions of the PST ranging from useless to the best jazz horn ever. I studied nine PSTs made between 1940 and 1960, and found reasons for the mixed reputation: (1) The PST needs extra-wide pad openings at the bottom. Repair technicians rarely see this, so many overhauled ones are weakened. (2) Versions made after 1955 have a smaller bottom bore. They play best only with harder reeds. (3) Only those late versions carry the Silver Throat inscription, and most are inferior. (4) Many barrels were not bored optimally. Knowing all this, I have learned how to bring out the best in a PST. The vintage PST and the Chinese C seem like the “odd couple”, but they are well-matched in playing characteristics.
User-friendly optimizing for Bb and C clarinets
Optimizing starts with a large-bore Bb or C, and may include any of the following changes as needed:
Enlarging the entrance to the upper joint
Some modified tone holes, pads, or action, especially to tune top and bottom
Trill keys B and C optimized to use as primary notes
Optimized thumb-key Bb
Improved Eb/Bb when using right forefinger
Fine synthetic and/or leather pads, resilient and reliable
Ergonomic improvements
Springs adjusted for light and balanced action
Ab and other keys may be adjusted to small or large hands
Luxury thumb rest option
Custom requests
Barrel modifications and tuning
Barrels are usually bored to match the upper joint. On the large-bore Bb and C clarinets, I discovered that a further enlargement of the bore can be transformational. I use reamers to remove about a hair’s width of material. I continue the cut tapering into the upper joint. The horn goes a bit flat. When I correct the pitch, it breathes easier and comes fully to life. Throat tones are greatly improved, including Bb.
A player will often pull out a barrel for tuning. This produces an internal gap that can dull certain notes. But in large bore clarinets, the pull-out gap does not have such side effects. Most players won’t need a second, longer barrel. My tunings tend slightly sharp, for flexibility while playing, and to allow adjustment. Tell me if you play outdoors in high/low temperatures, and I may include a second barrel.
Standard mouthpieces are fine!
Here is a fortunate twist of history – Today’s mouthpieces still follow the design standards of the 1950s. They are nativeto large-bore instruments! Modern clarinets use a reverse-tapered barrel that adapts them to the modern bore. (Reference: Clark Fobes, Tuning and Voicing the Clarinet.) So, your favorite mouthpiece will work fine. But, don’t use a modern barrel. I find good, normal classical mouthpieces to be just right. So-called “jazz” pieces are too wild.
Availability
Occasionally, I produce a user-friendly PST or C clarinet for sale. Some clients have bought both. They join me in being twice as happy. I also have a select stock of my favorite vintage mouthpieces, for easy blowing and amazing tone.
A review of my Black • Hole Pruefer Silver Throat
With any strength reed, the Pruefer clarinet played very well in tune throughout the lower register and the throat tones. I was impressed as to how well in tune the throat tones were. Those are usually the hardest to keep in tune on most clarinets. As with most clarinets, it wanted to go sharp on the altissimo notes above high C (2 bars above staff), however opening my throat more while blowing easily, brought them right into tune. I am impressed with the Pruefer clarinet. Other than playing a little brighter it holds up well against my Buffet R13. I was amazed at throat Bb and A. They’re usually crappy, but they come right out good. — Dave D., Santa Fe
INCREDIBLE synthetic reeds
Many serious players use synthetic reeds, some exclusively. They hold constant under all conditions. Some players get more than a year of regular use. I'm currently using Fibracell reeds.
Mouthpieces, and MATCHING to the reed
When switching to synthetic, I tried a mouthpiece that was a previous favorite, and it was better than ever! So, I don't just pick a favorite MP, and then a favorite reed. I pick the best PAIR. The curve of the MP facing should match to the curve of the vibrating reed. You can’t see it, but you will feel it! I collect vintage MPs so I can experiment. Now, my clarinet sales usually include a soft synthetic reed and a select MP to match. I’ve have had no returns in the last two years.
References and acknowledgements
Thanks to Phil Pedler (The ClarinetPages.info), Jared De Leon (Wind Instrument Repairs) and Clark Fobes, and others on The Clarinet Board and Sax-on-the-Web, for sharing their experience.
I am a frequent contributor to: The Clarinet Pages
Put a BLACK • HOLE in YOUR galaxy!
Some links to Windy Dankoff's music on Youtube
Flute and Clarinet Duets with Alma Dankoff
www.youtube.com/channel/UC-46J_Oac8dUAID3vp1_Gvw
Sabbath services at Congregation Beit Tikva, Santa Fe
www.youtube.com/channel/UC0YLNEIXfevPyos_jMQULVw/videos
A demonstration of my Black • Hole user-friendly Bb and C clarinets,
playing "Summertime"
https://youtu.be/KLdry9KeOFc
If the path be beautiful, let us not ask where it leads. Anatol France
I am a frequent contributor to: The Clarinet Pages
Some links to Windy Dankoff's music on Youtube
Flute and Clarinet Duets with Alma Dankoff
www.youtube.com/channel/UC-46J_Oac8dUAID3vp1_Gvw
Sabbath services at Congregation Beit Tikva, Santa Fe
www.youtube.com/channel/UC0YLNEIXfevPyos_jMQULVw/videos
A demonstration of my Black • Hole user-friendly Bb and C clarinets,
playing "Summertime"
https://youtu.be/KLdry9KeOFc
If the path be beautiful, let us not ask where it leads. Anatol France
I am a frequent contributor to: The Clarinet Pages
