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The Albert system refers to a system of clarinet keywork and fingering developed by Eugène Albert. In the United Kingdom, it is known as the simple system. It has been largely replaced by the Boehm system and Oehler system. Big Band musician Jimmy Dorsey used a clarinet outfitted with the Albert system.
Oehler-system clarinet and Full-Oehler clarinet with bell mechanism to correct low E and F The Oehler system (also spelled Öhler ) is a system for clarinet keys developed by Oskar Oehler . Based on the Müller system clarinet, the system adds tone holes to correct intonation and acoustic deficiencies, notably of the alternately-fingered notes ...
Eugène Albert (April 26, 1816 – May 11, 1890) [1] was a Belgian woodwind instrument maker, primarily known for his clarinets, based in Brussels. His work started around 1839, [ 1 ] and his sons, Jean-Baptiste (1845–99), Jacques (1849–1918), and E.J. Albert, continued making clarinets until the end of the World War I .
The Albert system also generally has fewer keys than the more widely known "Boehm" fingering system. A fine example of his playing can be heard on Paul Barbarin's Onward Brass Band—in Concert. Cottrell leads the band during his favorite hymn, "What a Friend We Have in Jesus." His beautiful clarinet playing is a standout on the album. [14]
Two-key clarinet with fingering chart, ... In Turkish folk music, the Albert system clarinet in G is often used, commonly called a "Turkish clarinet". [111] [112]
The Boehm system for the clarinet is a system of clarinet keywork, developed between 1839 and 1843 by Hyacinthe Klosé and Auguste Buffet jeune.The name is somewhat deceptive; the system was inspired by Theobald Boehm's system for the flute, but necessarily differs from it, since the clarinet overblows at the twelfth rather than the flute's octave.
Tio was born into a family of musicians, including his father Lorenzo Tio Sr. (1867–1908) and uncle Louis "Papa" Tio (1862–1922). [1] Their method of playing the instrument (which involved the Albert system, a double-lip embouchure and soft reeds) was seminal in the development of the jazz solo.
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