Klarinet Archive - Posting 001089.txt from 2000/06

From: mus_ldj@-----.edu
Subj: Re: [kl] V12
Date: Tue, 27 Jun 2000 00:37:44 -0400

So the darker the reed in the wings, the better control and darkness of tone we
will have when playing in the upper extremities?

Clarguy3@-----.com wrote:

> In a message dated 6/26/00 3:02:51 AM Eastern Daylight Time,
> Bilwright@-----.net writes:
>
> <<
> Uh oh, you said the secret word...... <grin> but the way that
> you have decribed specific physical details forces me to ask you....
> without meaning to revive an overworked topic that probably nobody on
> this list wants to revisit (right now). Hopefully you can answer this
> question in a single sentence:
>
> I'm not asking you to discuss what 'dark' is. I'm asking if, when
> you use the word, do you have a tonal perception in mind ("this sounds
> dark") or do you have a specific physical (and measurable) overtone
> recipe in mind?
> >>
> Basically, maintaining some density and bulk in the corners of the tip helps
> to keep the lower partials in the formant strong and keeps the upper partials
> from becoming overwhelming. Charles Lawson's doctoral dissertation would be
> an interesting read along these lines.
>
> In a way trying to describe "dark" is like trying to describe "salty." We
> know what salt tastes like when it hits our tongues, yet it would be
> virtually impossible to describe the term "salty" in any term other than
> itself.
>
> Chuck
>
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