Klarinet Archive - Posting 000008.txt from 1993/03

From: David Richards <BR.DRR@-----.BITNET>
Subj: embochure & vowels
Date: Fri, 12 Mar 1993 12:30:48 -0500

REPLY TO 02/07/93 15:05 FROM KLARINET@-----.BITNET "Klarinet -
Clarinettist's Network": embochure & vowels

I have come to believe that the major mechanism by which
clarinet tone is controlled (given a fixed mouthpiece/reed
setup) is variation in the shape of the oral cavity (tongue
position and throat opening). It is the same mechanism by
which we make different vowel sounds in normal speech.
Because there are subtle (or not so subtle) variations in
the repertoire of vowel sounds used in each language, I can
easily believe that in the absence of training to develop
conscious control over the oral cavity (e.g., tongue position)
a native French speaker might tend to have a different
tone quality than a native English speaker, or to prefer
a different kind of sound. I am pretty sure that the mechanism
at work is that the vibrating reed is coupled to two resonating
systems: the tube of the clarinet, and the players oral (and
sinus) cavity. While the former exerts the major control over
basic pitch, I think the latter can have a significant effect on
the overtone structure, i.e., tone quality. Jim asked if
lip position might have a correlation with native language.
This is not so clear to me, although it is well known that the
amount and firmness of the lower lip in contact with the reed
has a significant effect on the higher harmonic content of the
tone; the mechanism at work here is mechanical damping.
Is anyone aware of any real research on these topics?
David

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