| In 1812 the next level in clarinet evolution was reached as an instrumentalist named Ivan Muller developed a new clarinet with an additional seven keys. Before this invention, there were several different types of clarinets each pitched in a separate key. Due to the clumsy chromatics and semitones on the clarinet, it was impossible to play in all the different keys on the same instrument. (Gibson 1994) Muller’s new instrument had a total of 13 keys as well as completely innovative methods for construction, venting, and padding. The felt pads that were previously used were replaced with leather filled with wool that was then soldered into the hollow of the key, improving tone and precision of the instrument. Muller first presented the clarinet to the Conservatoire in Paris for acceptance and approval. Paris rejected the “clarinette omnitique”, as Muller called it, because it could play in every key. Most musicians would appreciate this simplicity but the Conservatoire decided that “each clarinet had a special musical character and sound, according to pitch, and thus each had diverse musical value”. Not to be daunted by this rejection, Muller toured as a soloist in 1815 through England, Holland, and Germany. Playing his own renovated clarinet, he soon established its superiority to the musical world. During the tour, Muller also made change to his mouthpiece and reed. Muller replaced the length of cord typically used to bind the reed to the mouthpiece with his own prototype of a ligature that was similar to those used today. He also thinned and tapered the reed to fit the mouthpiece better, yielding a greater variety of articulations. (Brymer, 1990).
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Later Chalumeau - 1820 |
INSTRUMENTS 
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