Klarinet Archive - Posting 000336.txt from 1997/10

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: klarinet-digest V1 #301
Date: Fri, 10 Oct 1997 10:10:02 -0400

> On Thu, 9 Oct 1997, Dan Leeson: LEESON@-----.edu wrote:

> If you cannot recognize the sound (or do so to a
> > lesser degree when you are not playing), you have to consider the
> > possibility that your "recognition" is not at all aural, but is
> > due to other factors such as brand name influence, physicality of
> > the instrument, the feel and placement of the keys, and other
> > psychological factors, etc.

You kind of left out an important part of the equation here.....that is,
psychological factors aside, what about the way the darn thing blows?
Resistance in an instrument is all important (anyone who disagrees with
this either does not understand resistance in the horn, or labels it as
something else....we call that semantics). That has literally nothing to
do with brand name, feel and placement of keys, and the other ambiguous
etc. you mention here. This is not a psychological factor, this is a
musical factor....one that is realised by the performer.....BOTH aurally
and in terms of the way it feels (not with the hands but the air column).
My recognition with a person other than myself would naturally be "to a
lesser degree" because I have reduced a part of the test by 1/3 to
1/2.....that is, the resistance factor. By the way, I would think that
you could concede that the sound is different when the reed is rattling
around and vibrating within one's head than it might to a person sitting
two feet away? Put your fingers in your ears and eat a crunchy
peanut......sounds like a cow munching doesn't it! Take your fingers
out....the amplification of the sound is created by eliminating the
outside influences .........same concept with blowing and hearing as
opposed to simply listening.

Roger Garrett