Klarinet Archive - Posting 000014.txt from 2000/05

From: Bilwright@-----.net (William Wright)
Subj: Re: [kl] Hello everyone, back from travel
Date: Tue, 2 May 2000 07:38:25 -0400

Daniel=A0Leeson wrote:
<><> it has always been my suggestion that the term "dark sound"
as well as "bright sound" are terms that have no accepted meaning or
definition whatsoever outside of the head of the person who uses them,
and, as such, are quite useless descriptions of the character of a
clarinet's sound.

FWIW, I agreed with you before I read the first words in the first
post that I found in your posts in the archives.
This is precisely why I was so interested in 'artificial mouths'
and the strobe analysis of a vibrating reed (you may have been
travelling at the time?). While I don't agree that music is a 'science'
-- definitely not -- I absolutely do feel that students (such as myself)
should receive better hints as to what is going on physically in order
to achieve a certain effect -- where _do_ your teeth belong on the reed,
should you really bend the reed or not, etc?
The standard reply is: "Don't worry,.. it'll all come together,
just keep experimenting, find your own personality on the horn", etc.
I guess my final comment is to repeat what I've already said about
my automatic tendency to use two or three words that appeal more to
physical sensations. Instead of ust "dark", I say "dark and
echoed-filled and honey-thick", etc. I agree that these words don't say
much more than just "dark", but at least they appeal to physical
intuitions just a little bit.

Cheers,
Bill

Buried somewhere in the archives is a long article I wrote called "That
nice dark sound." You don't have to agree with what it says, but your
clarinet education will remain medieval until you read it. When you do
you can come to the conclusion that the author is full of doo-doo and
then we can discuss the specifics while you give me (and the rest of the
list) your perspective on this topic.
Much of the terminology used to describe things clarinet derive from
social pressure not from any technical truth or, for that matter, any
agreed-upon scientific studies that use well-defined terminology.
So you can look for a "nice dark sound" all you wish but I suggest that
you will not be able to identify it when you get it and you really do
not have any specific idea what the hell it is you are looking for.
Have a nice day.
Dan Leeson, back from vacation and pissed off with the rotten state of
the world in general and clarinetdom in particular.
William Wright wrote:
Daniel Leeson wrote:
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0<><> but then said that he was working
hard to get a nice dark sound. We had a little conversation on that and
they are still cleaning his blood off the walls. @-----.] =A0 many,
many messages about getting a nice dark sound or being told that they
were buying clarinet xxx because it has a nice dark sound. They were
only saying that to get me upset, you know.
@-----. I think that
you're saying that a clarinetist can get too 'dark' and 'echo-y'? If so,
I agree with you (is it heresy to say that Stoltzman goes too far for my
taste?), but if you're saying something else, can you elaborate?
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--
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** Dan Leeson =A0 =A0 =A0 =A0 =A0 **
** leeson0@-----.net **
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