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The Full Boehm system clarinet is the only extensively accepted modification of Klosé and Buffet's 1843 design, though its added complexity, weight, and cost have kept it from supplanting the latter altogether. It features four improvements creating an even more streamlined fingering system.
A key system inspired by Boehm's for the clarinet family is also known as the "Boehm system", although it was developed by Hyacinthe Klosé and not Boehm himself. The Boehm system was also adapted for a small number of flageolets. Boehm did work on a system for the bassoon, and Boehm-inspired oboes have been made, but non-Boehm systems remain ...
Both modified a clarinet with the Boehm fingering system to sound like an Oehler (German) clarinet. Wurlitzer built a Boehm clarinet with less taper, which impaired the intonation, but compensated for this by shortening the lower joint by a few millimeters and offsetting the lower tone holes. He also fitted it with a German-style mouthpiece.
[58] [4] Other key systems have been developed, many built around modifications to the basic Boehm system, including the Full Boehm, Mazzeo, McIntyre, [74] the Benade NX, [75] and the Reform Boehm system, which combined Boehm-system keywork with a German mouthpiece and bore. [76] The Albert clarinet was developed by Eugène Albert in 1848.
G clarinet — An instrument that today appears in various guises: a "Turkish clarinet" with Albert system keywork and a range to low E, a Boehm or Oehler system instrument to low E made predominantly in Germany, Italy or China, and as a Boehm system instrument with range to low C (basset clarinet in G) in part a revival of the clarinet d'amore ...
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Fritz Wurlitzer in his workshop in the 1970s Fritz Wurlitzer Double Bass Clarinet. Fritz Ulrich Wurlitzer (21 December 1888 – 5 or 9 April 1984) was a German clarinet maker, based in Erlbach in Vogtland, Saxony. He developed the Reform Boehm clarinet and made improvements to the Schmidt-Kolbe clarinet [1] and the German bass clarinet. [2]
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