Klarinet Archive - Posting 000004.txt from 2000/01

From: Keith <100012.1302@-----.com>
Subj: [kl] klarinet Digest 31 Dec 1999 21:15:00 -0000 Issue 1943
Date: Sat, 1 Jan 2000 02:21:41 -0500

Message text written by INTERNET:klarinet@-----.org
>
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 blowin=
g
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 importan=
t?
Well, that sounds to me like one of those teaching metaphors that Tony Pa=
y
writes about, rather than a verifiable assertion of fact.
<

I agree actually - the pink noise argument was just to show that one coul=
d
equally well ASSERT a different view with zero evidence! I do believe
that the whole system, from the diaphragm to the bell, must be considered=

in toto to understand the clarinet (and yes, Arthur Benade understood mor=
e
than
most), and I could also cite evidence and arguments for this belief. That=

is why =

I dislike assertions such as "this bit is the most important".
Sometimes, for teaching, you want to focus on one aspect, but surely one
does
not need to belittle the rest at the same time. =

Keith Bowen

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