Klarinet Archive - Posting 000275.txt from 1999/05

From: "Dee D. Hays" <deehays@-----.com>
Subj: Re: [kl] re: Different pitched Clarinets timbral qualities
Date: Sun, 9 May 1999 00:17:06 -0400

-----Original Message-----
From: Bill Hausmann <bhausman@-----.com>
Date: Saturday, May 08, 1999 10:43 PM
Subject: Re: [kl] re: Different pitched Clarinets timbral qualities

>... Even if I concede that SOME PLAYERS can make this distinction, I submit
>that the vast, VAST majority of players and listeners cannot, rendering the
>fuss over using different clarinets for reasons OTHER THAN ease of playing
>in a given key moot. Yes, the throat tones, break, etc., occur in
>different places in a passage. But that is cheating. Do the notes
>themselves really sound that much different to some people? Does a clarion
>concert G, for example, vary so much from Bb to A to C clarinet that it is
>immediately recognizeable to those golden-eared individuals? Or would a
>given passage, played in isolation and as written on one or the other
>instrument to someone WITHOUT perfect pitch be identifiable by timbre
alone?
>

I do not have "golden ears" but can certainly tell an Eb soprano from the
A/Bb pair on the same concert pitch by timbre if the notes fall in the
different registers. The subtle difference between A & Bb sopranos escapes
me though. I an also tell the Eb alto and the Bb bass apart by timbre on
the same concert pitch if it falls in the different registers and can
separate them from the Bb soprano on the same concert pitch due to the
distinction in registers. I've never heard a C clarinet so don't know if I
could pick that out. It's unlikely that I would be able to tell the D & Eb
sopranos apart.

The register timbres are not a subtle difference on the clarinet.

Dee Hays
Canton, SD

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