Klarinet Archive - Posting 001094.txt from 1999/12

From: "Doug Sears" <dsears@-----.net>
Subj: Re: [kl] klarinet Digest 31 Dec 1999 09:15:00 -0000 Issue 1942
Date: Fri, 31 Dec 1999 13:00:50 -0500

The reality is more complicated than either view. The mouthpiece/reed may be
merely a pink-noise generator in isolation, but as Arthur Benade (who I think
understood clt acoustics better than anyone) took pains to describe in detail,
all the parts work together. The multiple resonances in the bore and resonances
in the player's vocal tract work together (in combination with the blowing
pressure and the reed's mass and springiness) to control exactly how the reed
opens and closes during each cycle of a tone. Which part is most important?
Well, that sounds to me like one of those teaching metaphors that Tony Pay
writes about, rather than a verifiable assertion of fact.

--Doug
----------------------------
Doug Sears dsears@-----.org/~dsears

Keith Bowen wrote:
><Rien Stein>
>>One of the statements Mr Pino made - and I agree with him as to this
>point -: The closer to the mouth, the more important. Implying that the
>most
>important part of any clarinet is the reed. That is also what I am always
>telling people about th instrument, so there is nothing new to me.<
>
>This comes up quite often, but I have never seen any real evidence for
>it. As it stands, it's just an assertion. I could make a perfectly good
>argument for the contrary view: that the mouthpiece/reed is just a
>pink noise generator (obvious if you play it without the clarinet!)
>and it's the job of the clarinet to filter out the tones that we want.

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