Klarinet Archive - Posting 000426.txt from 1995/09

From: Everett J Austin <BrendaA624@-----.COM>
Subj: Re: Undertones
Date: Wed, 20 Sep 1995 01:51:25 -0400

I read with interest all the comments (so far) about causes and elimination
of undertones in the upper clarion, which especially when the notes are
tongued short and in the p-pp-ppp range, presents one of the major technical
chalenges of the clarinet. It seems like all the comments offered are valid,
since a deficiency in any of the areas mentioned can easily bring down this
musical house of cards. The tongue needs to know its place on the reed
consistly and not wander, it needs to withdraw rapidly and only ahort
distance to start the tone and the embouchure has to be alert and prepared
before the tone with the ideal tension and position (if any thing further
down the reed as Mr Cohler points out) and the air support is vital to
support the tone and pitch. I thought Mr Bourque's comments about proper air
speed were very well taken and this becomes clearer if one extends the
problem to other single reed instruments besides the Bflat clarinet (even the
A likes a little different airflow I'll venture some will agree). I think
the airspeed and the air flow/"volume" (ie, cc/sec) are independent
variables, so one cannot simply say that the latter determines loudness.
Also, a very soft note in this range can be played with a very high
airspeed, just less flow. The air speed is important in determining the
pitch, responses and focus of the note.
Respectfully and humbly submitted,

Everett Austin
SFO