Klarinet Archive - Posting 000216.txt from 2000/01

From: klara <klahall@-----.com>
Subj: [kl] Re: Clar.mkr. now tone&acoustics
Date: Fri, 7 Jan 2000 17:05:52 -0500

Bill,
i also like your tag line.

On Fri, 07 Jan 2000 06:57:37 -0500 Bill Hausmann <bhausman@-----.com>
writes:
>At 10:12 PM 1/6/2000 EST, annhall wrote:
>>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.
>
>Of course, everyone is in agreement that the vibrations of the body of a
>STRING instrument play a significant role in the progagation ot its
sound.
>It is DESIGNED that way. Not so with the clarinet.

[cut]
>>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'.
>>
>The change is probably caused by the general relaxation of the player.
But
>it is an interesting notion that could stand further study. And if you
can
>use the demonstration as ammunition to get students to relax their
fingers
>more, go for it!
>
The demonstration helps. Also the imagining that the instrument is alive
and will hurt if we pinch it.

Yes, and since the violin sounds (slightly) different when *just* the
left hand/neck contact is rigid then there is possibility that there will
be a slight but real difference of the materials the clarinet is made of.
What are the instruments that can record the number and strength of
overtones--ocsilliscopes? one could check for the difference between
clamped and light fingers?

annhall

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