Klarinet Archive - Posting 000227.txt from 2000/01

From: David Glenn <notestaff@-----.de>
Subj: Re: [kl] Re: Clar.mkr. now tone&acoustics
Date: Fri, 7 Jan 2000 18:28:56 -0500

klara wrote:

> 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
>
> ---------------------------------------------------------------------
> ++++++++++++++++++++++++

Having also experienced Kato Havas in live workshops and private lessons, I
can verify these comments. It also makes sense to me intrinsically. I not
only feel the vibrations on the clarinet (or sax) but also in myself. If you
don't believe it try playing the lowest note on a bass clarinet or barisax as
loud as you can. If you can still see well enough to read music, you're made
of concrete!

A further experience of mine, I cannot understand but I can certainly state
that it does make a difference. It is this: whilst experimenting with my
friend Georg Ignatius (resonance spectral tuning) we put rings of solutions
(mixtures) of different metals on the nodes of my clarinet. Please excuse the
following descriptive adjectives! Silver had a brighter sounding effect. Gold
was warmer. Copper was similar to gold. Self-adhesive silver and gold stripes
are available in the do-it-yourself for those of you who want to experiment!
Of course, I'm not telling where the nodes are but try putting the stripes on
the bottom ring of the bell for starters.

Don't have time to put on my flame suit, so hope it doesn't get too hot! I'm
just between rehearsals for "Nixon in China". I really like it so far. I
wonder how the public will react when it opens end of the month.

David

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