Klarinet Archive - Posting 000184.txt from 2000/01

From: klara <klahall@-----.com>
Subj: [kl] Re: Clar.mkr. now tone&acoustics
Date: Thu, 6 Jan 2000 22:12:30 -0500

On Thu, 6 Jan 2000 16:48:26 -0800 (PST) gtg <gtgallant@-----.com> writes:
>The only way to prove this would be to use the SAME
>clarinet and replate its keys. Comparing two
>different clarinets with different key plating has too
>many variables that destroy your hypothesis. The
>clarinets compared would have to be perfectly similar
>-a manufacturing impossibility for clarinets - in
>order to make such bold assumptions.

someone willing to take on the project of changing keys? I imagine that
might be an
accomplishment in itself.
and would the time lapse add inaccuracies?

> Even so, I don't
>think key plating makes any difference in sound. The
>keys do not vibrate, the air column does. If you can
>generate enough wind energy to vibrate the clarinet
>walls and keys, you may be supernatural! :)

Vibration and sound

When attending my first string workshop with Kato' Havas, I was impressed
with her
demonstration in the audible difference in tone of violin when clamped in
all connections to body and when the contact is floating, flexible. Most
noticeable is the shoulder/jaw and arm on body of violin, but even just
having left hand squeezed against the strings and neck makes a slight but
tangible difference in the ring of overtones.
While this seems contrary to what many capable players/teachers
experience and do, I can give a live demonstration with viola in a quiet
room. It certainly made a difference in sound quality of this adult
beginner. ( what Havas has done is figure out how to have this balanced
and comfortable interaction with the instrument and PLAY.)

To apply this to the clarinet, in the effort to be aware of the excessive
tension in my hands while playing ( or to be more blunt, to bring to life
a death grip) one of the awareness that helps is to feel the vibration of
the clarinet with my fingertips. the principal being if the fingers rest
on the holes or keys with just enough weight to contain the air, but
light enough that the vibrations are not damped, I have the ideal balance
for fingers and hands.

And in trying this out with students, while they play and i touch the
clarinet, i can feel a difference in the vibrations between 'choked' and
'stroked'.
@-----.===

since I can make a difference in the vibration of the clarinet between
fingers clamped and resting, might there also be a slight difference in
the sound, even though the body of clarinet is not nearly so important or
responsive as the body of a string instrument?

So there may actually be a difference in sound between materials in the
body and keywork. would a fine and thorough acoustic testing show this in
a verifiable manner?
I use the sensations to lead to fluid reliable finger motion. And it is
justified for that
reason.
But the further implications are intriguing.
Maybe for people who use a lot of tension the materials matter less?

enough for now,
much of this is easier to demonstrate than write...
annhall

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