The essential thing is that if you do it once, you must then do it continually — once every two weeks or so during the winter months in cold climates, or more often in very dry climates. Do not use the rest aside from the bore oil you find in music stores, which is formulated from light mineral oils that will not turn rancid. Oiling the bore won't affect your clarinet’s tone or reaction. Finally, be sure that your students never do any of right here to abuse their clarinets: stand it on the ground by the bell unless, obviously, they've got a clarinet peg; lay it on a music stand; leave it on an risky chair or lay it on the ground; carry it through the halls with out regard to overlaying the mouthpiece from hitting the walls or their friends; leave the mouthpiece cap off while ready in line to take an all state audition; leave it unattended — in or out of the case. Teach every student to take care of and protect his or her clarinet. It is an tool, not a toy, and deserves good treatment and respect. If scholars agree with they are in possession of a precious object, they're going to learn to value it, and they will value the work they do with it all the more. What could have influenced Mozart into completing the deserted basset horn concerto for Stadler and his basset clarinet, was his event to Prague for the most desirable of La Clemenza di Tito. One of his traveling companions was his pupil Süssmayr, who discovered that he was writing a basset clarinet concerto for Stadler. Mozart could not allow himself to be outdone. The concerto was written in Vienna a while among the tip of September and the beginning of October 1791.