34 Specifications subject to change without notice.

dynamic levels.Also, Leblanc clarinets are stable in

tuning. Clarinets usually play sharper atsofter dynamics and flatter at louderdynamics. While it is not possible toeliminate the pitch variation present asdynamics change, Leblanc clarinetsminimize the pitch fluctuations in ex-tremes, enabling the player to play softerwithout playing sharper and louderwithout playing as flat as on other brandsof clarinets.

Stability in tonal shape is achieved bybuilding a certain “hold” in the clarinettone, especially for the upper registertones. By “hold” we are referring to thefact that Leblanc clarinets maintain theshape and refinement of tonal defini-tion, even at the loudest dynamiclevel—much like a balloon, which whenblown up gets larger, but keeps the samebasic shape as when it was small. Thisfeature, combined with pitch stability,allows the player more embouchure flex-ibility and relaxation, virtuallyabrogating the need for the player to“grab” at the sound to keep it fromspreading.

All of these playing features, directtone emission, balanced blowing resistance,and pitch, timbre and shape stability, giveLeblanc clarinets playability—the expe-rience of unmatched expressivefreedom, playing ease, and security thathas compelled many artists who havebeen longtime devotees of other brandsof clarinets to switch to the new Leblancclarinets.

Your initial experienceBecause many clarinetists have playedinstruments for years that do not havethe efficient playing features of the Le-blanc clarinets (balanced blowingresistance, hold, and stability in pitchand dynamics), initially they are likelyto do a number of things with air andembouchure-pressure exchange that areunnecessary when playing a Leblanc.

Many of the qualities in tonal even-ness and response that must be createdby the player on other models are builtinto Leblanc clarinets. Consequently, thesooner you relax and trust the Leblancto supply what you would otherwisehave to create on your old instrument,

Playing characteristics

General characteristicsTo meet the varied artistic and devel-opmental needs of the player, the variousmodels of Leblanc clarinets have differ-ences in tuning ratios, tonal color, depthand flexibility. Beyond those neededindividual differences, all models sharethe following common features:

Direct tone emission. This feature re-sults in instantaneous speaking of theclarinet tone at all dynamic levels (espe-cially piano), and the feeling that oneneed not labor with air and embouchureto be “in the heart of the sound.” Bycomparison, other clarinets seem reti-cent in their speaking qualities and lackthe immediate presence and clarity ofsound found in Leblanc clarinets.

Balanced blowing resistance. Thismeans that right-hand and left-handnotes blow with the same resistance.This feature results in matchless even-ness in tone color throughout and raisesthe clarinet to new levels of ease in toneproduction, effortlessly smooth legato,security of response and dependablearticulation.

Other brands of clarinets marketacoustical designs that cause one handto blow with greater resistance than theother. This sort of design results in aclarinet that changes in tone color andresponse from register to register andfrom hand to hand, requiring the playerto “create the evenness” by means ofembouchure/air-pressure exchange. Theeven tone color and response inherentin the acoustical design of Leblanc Franceclarinets eliminates much of the physi-cal effort required in controllingresponse and tone on other brands ofclarinets.

Stability in timbre, tuning and tonalshape. When we say that Leblanc clari-nets are stable in timbre we simply meanthat the tone color remains the same,whether at louder dynamics or softerdynamics. For instance, when most clari-nets are played at louder dynamic levels,the tone easily becomes bright, thin anddistorted. This is especially true of theupper register. This brightness createsan edgy, metallic tone that is unpleasantto most listeners’ ears. This is not true ofLeblanc clarinets. The higher tones ofthe Leblancs remain round and full withno metallic edge—even at the loudest

the sooner the superior playability of theLeblanc becomes evident. Most signifi-cantly, the beautiful hold and tonaldefinition in the new Leblancs eliminatethe need to constantly “grab” with theembouchure to maintain the shape of thetone.

Basic terms definedThe following terms are used to de-scribe the playing characteristics of Le-blanc clarinets. Understanding them willhelp you in selecting the instrument thatis right for you.

Modes: This term refers to the variousregisters of the clarinet. The Bb sopranoclarinet has three modes: chalumeau (lowregister), clarion (middle register), al-tissimo (high register).

Tuning ratios: This term refers to therelationship in tuning between two notesof different registers that use the sametone hole. For instance, both first space Fand high C are emitted from the firstfinger hold. If, when played, we find theF is five cents flat and the C is five centssharp, we say the ratio spread betweenthese two notes is 10 cents.

Bore definition: Basic bore size refersto the cylindrical part of the middle thirdof the French clarinet’s bore.

Polycylindrical: Refers to the upperthird of the left-hand joint, which is char-acterized by a series of cylinders con-nected by conical, stair-step-likereductions. All new Leblanc clarinetshave one variation or another on thisbasic bore configuration.

Leblanc clarinet constructionAll Leblanc wood clarinets, both mid-line student and professional modelshave integral tone holes. This means thatthe raised tone holes are actually part ofthe clarinet’s body. Other manufactur-ers turn the wood bodies into cylindersand then use plastic inserts for their raisedtone holes for all wood models excepttheir top professional models.

While integral tone holes are more dif-ficult to manufacture, we at Leblanc aresure that both the tone and constructionof the clarinet are superior when this isdone.

Specifications subject to change without notice. 35

While the Esprit is defined as an “en-try-level” professional instrument, play-ers consistently find that the Esprit playsbetter than and sounds comparable toother manufacturers’ professional mod-els. Because of the Esprit’s maturity intone, it is probably the best value of anyclarinet on the market. The Esprit istruly the professional clarinet withoutthe high price tag. College students whoare majoring in music, advanced highschool students, as well as many profes-sional clarinetists will find these instru-ments to be of interest. Manyprofessionals will find the Sonata to theirliking as well because of its greater tonalflexibility and depth.

Professional clarinets1188S InfinitéTechnical features

Materials: Selected top-quality Afri-can grenadilla wood.

Acoustics: 14.65 mm bore with largeoffset polycylindrical reversing-conefeature. Lower placement of the speakertube produces somewhat wider “R13-style” upper-joint first-and-second-mode tuning ratios.

Mechanical: See Esprit mechanicalfeatures.Most outstanding playing features

The Infinité has the outstanding re-sponse and evenness typical of Leblancclarinets and exceptional tonal depthand resonance in addition to the famousLeblanc balanced-key action.Who will want to play this model?

All serious clarinetists and youngerplayers who want a top-line clarinet thatthey can “grow into.”

1189S and1189SL Concerto

The Leblanc Concerto models sharethe same acoustical features but differmechanically. The 1189S has the offset-style mechanism, while the 1189SL hasthe in-line style. Otherwise, they are thesame instrument.

Materials: Hand-selected Africangrenadilla wood.

Acoustics: 14.65 mm bore with largepolycylindrical offset feature. Higherspeaker tube produces excellent upper-

Acoustical typesThere are three types of acoustics inthe new line of Leblanc clarinets.

The first type is used in our entry-level professional clarinets, the Espritand Sonata. This acoustic produces apristine, beautifully focused tone, out-standing, well-defined intonation, andextraordinary ease and efficiency of toneproduction—optimum features for theadvancing player’s improvement in toneand technical development.

The second and third types are bothused in professional model clarinets.These two types are strongly relatedand differ primarily in the placement ofthe register tube. Varied placement ofthis tube creates different tuning ratiosin the first and second modes, as well asother subtle playing characteristics inblowing resistance, legato and tone qual-ity. Both types of acoustics produce atone that is mature, full, resonant andflexible.

Entry-level professional clarinets1040S Esprit and1020S SonataTechnical features

Materials: The Esprit and Sonata usethe finest select African grenadilla woodthroughout. Like all Leblanc wood clari-nets, the bodies have integral tone holes.

Acoustics: 14.65 mm bore with apolycylindrical reversing-cone featurein the upper joint. Lower speaker-tubeplacement produces somewhat widerupper-joint tuning ratios in the first andsecond mode.

Mechanical: The Esprit and Sonatahave the finest features of the famousLeblanc mechanism: separate-post-mounted in-line trill keys. The Espritalso has separate-post-mounted C#/G#and Ab/Eb trill keys.Most outstanding playing features

The Esprit, while not quite as agile asthe Sonata, has a tone that is deeper andmore flexible, enabling the player tocreate wider degrees of color and shapevariations for expressive purposes.

The Sonata has the classic balance ofplaying efficiency and tonal beauty andflexibility that make it one of the world’sfinest clarinets.Who will want to play these models?

joint first-and-second-mode tuningratios.

Mechanical: See above.Most outstanding playing features

Optimum flexibility and resonanceare combined with a very dark tone.Tone color and response are remark-ably even from the right-hand to theleft-hand clarion tones. Smoothness,roundness of tone throughout, silkylegato and stability of tone color andshape even in the loudest dynamic lev-els make this instrument a dream toplay. Speaker-tube placement pulls nor-mally sharp upper-clarion tones downinto pitch; this enables the player tovoice the upper-clarion tones up intogood tonal center without creating theusual sharpness.

1190S OpusMaterials: The finest hand-selected

unstained African grenadilla wood.Acoustics: See Concerto/Éternité.Mechanical: The Opus has offset-

style mechanism, left-hand Ab/Eb key,lower pad resonators and adjustablethumb rest.Most outstanding playing features

See Concerto/Éternité playing de-scription.Who will want to play this model?

The most discerning players whowant only the top-line, state-of-the-artinstrument.

2007S Symphonie VIIMaterials: The finest hand-selected

unstained Honduran rosewood.Acoustics: See Opus.Mechanical: The Symphonie VII has

offset-style mechanism, left-hand Ab/Eb key, lower pad resonators and ad-justable thumb rest.Most outstanding playing features

Its mellowness and warmth of toneand unparalled responsiveness.Who will want to play this model?

The most discerning players whowant the most expressive clarinet ever,for use in orchestral and chamber mu-sic settings.