Klarinet Archive - Posting 000259.txt from 1997/11

From: "Jenn Dreispul" <jsdreis@-----.com>
Subj: RE:from material to blow out
Date: Thu, 6 Nov 1997 15:48:17 -0500

I don't know if this will mean anything to anyone, but this is in reply
to the last letter. A few years ago, I went to a master class given by
Richard Stoltzman. I remember that one of the things that he told us
was that after about 12 years, you could just put your clarinet away in
the closet and buy a new one. I just thought that should be added to
the others.
Who cares about Carmen Sandiago-Where's Waldo???????
Jennifer

>Date: Thu, 6 Nov 1997 00:53:45 -0600 (CST)
>From: Neil Leupold <nleupold@-----.edu>
>Subject: RE:from material to blow out
>To: klarinet@-----.us
>Reply-To: klarinet@-----.us
>
>> > Robert Howe wrote:
>
>> > ...the value of a smooth, polished bore, which absorbs less energy
>> > via friction and provides an easier blowing, more flexible
instrument.
>> > If you think about this a moment you will understand how clarinets
and
>> > oboes "play out", and why bassoons do not.
>
>Are you implying that swabbing-out of the instrument is the
>cause of the speculative blow-out phenomenon? It is understood
>that swabbing out over many years' time has the effect of slowly
>reaming the bore. Is this reaming effect uneven, such that the
>inner surface is less even and uniform, thereby creating greater
>friction and a harder-blowing instrument? Or is it the opposite
>result? How does one know when his/her instrument has "blown out"?
>Do clarinets, then, as well as oboes, have "shelf lives"? If the
>swab is the cause of the phenomenon, has anybody determined con-
>clusively which material is best to use in order to minimize the
>friction/reaming effect? Cloth? or Silk? Chamois? Is the
>best function to absorb moisture, or merely to spread it thin
>so that it evaporates? Does evaporation of the moisture have
>an adverse effect on the organic pores of the wood? Where in
>the world IS Carmen San Diego?
>
>Neil
>

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