Klarinet Archive - Posting 000613.txt from 2000/01
From: GrabnerWG@-----.com
Subj: Re: [kl] Fw: Mouthpieces and Intonation
Date: Tue, 18 Jan 2000 01:18:29 -0500
In a message dated 1/17/00 9:33:18 PM Central Standard Time,
reedman@-----.com writes:
<< f you were to try to play a barrel with a top dimension of .576 on a
Buffet R-13 you would be very unhappy. Most Moenning barrels are about .588
-.589 at the top and then taper to about .578-.579. Standard Buffet barrels
start at about .588, but have very little taper .589" is a little small for
the exit bore of a mouthpiece unless you are using an old Chedeville style
bore that has less taper and is a bit larger at the top bore than most of the
Kaspar mouthpieces .
In my work I have found that mouthpiece bore dimension is not the exclusive
influence on intonation. The barrel/mouthpiece COMBINATION is extremely
important. One can correct some inherent deficiencies in a mouthpiece with a
properly adjusted barrel. Most American players now favor a medium large bore
(like the Kaspar mouthpieces) and an inverted cone barrel. >>
This is entirely consistent with my experience. Clark, of course, is SEVERAL,
maybe many years ahead of me in mouthpiece/barrel design.
<< Most *good* Kaspars that I have measured have exit bores right around
.595". If one were to use a barrel with a similar measurement at the top the
tone would be quite diffuse and (assuming a barrel length of 65mm -66mm)
would be quite flat in the throat tones. A properly made inverted cone barrel
balances the overall volume of the mouthpiece/barrel bore and will bring the
larger bore mouthpiece into good modal ratios.>>
<< Walter is also correct about the problems of bore "warpage" during the
cooling process. This is why it is absolutely essential to use reamers to
bring the bore up to specs. I use 4 reamers when working on or checking the
bores of my mouthpieces and they all have slightly different functions. >>
Reamers...that's my next nightmare!!!!!! But this is absolutely necessary in
order to have control over the finished product. Clark, if my memory serves
correctly, orders his blanks with a smaller bore chamber so he can adjust to
his specs.
<< Another interesting aspect of adding a sudden reduction to the bore just
below the mouthpiece is the introduction of a "choke" at the very top of the
clarinet. A choke is a reduction step that creates turbulance and thus
resistance. All Buffet R-13 clarinets also have a choke where the bell meets
the lower joint. Chokes occasionally occurr where the upper and lower joint
meet, although I find this to be a fault rather than an enhancement. The
"positive" resistance that a barrel choke causes can be felt by the player as
an additional "springiness" or :cushion. >>
Clark, I take this to mean that a clarinet benefits from three "chokes":
between mouthpiece and barrel, between barrel and upper joint, AND between
lower joint and bell?????
Interesting!!!!
Clark continues:
<<i My point is that one MUST consider the mouthpiece and barrel as an
acoustical unit. (Walter's highlight) The complexity of this acoustical
system is compounded by the style of bore and tone hole design of each
clarinet maker. The variations just spin on and on so that which we hope can
be expressed scientifically still remains in the realm of art.>>
Thank you Clark! This is so true.
Also, the mouthpiece must be considered as a unit with the reed! The
reed/mouthpiece/barrel combination is what shapes the tone and governs much
of our resultant intonation pattern.
Walter Grabner
ClarinetXpress
Mouthpieces & More!!!!
http://www.clarinetxpress.com
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