Klarinet Archive - Posting 000374.txt from 2000/08

From: "Tony Wakefield" <tony-wakefield@-----.net>
Subj: Re: [kl] Unloading.....
Date: Tue, 15 Aug 2000 08:37:42 -0400

My apologies to Bill on the flippant remarks in my previous mail. However
comprehensive, or complicated an in depth analysis in these pages becomes,
(perhaps this is not an altogether >useful way to communicate in >these
pages, but then >I asked for the scientist to come in didn`t I?) yours, and
Bill Hausmann`s contribution is always going to be the intelligent and
logical way forward in discussion. >I come along, (or anybody), novices in
the science of acoustics. We see the point being discussed, in this case,
the absence of lower partials in upper reg. notes. We then see (from a
novices point of view?) alternative repercussions in the aspect of tone
production, perhaps in a simplistic way scientifically, but never-the-less a
useful way forward for ordinary musicians, as far as the search for "good"
tone is concerned.
Anybody got a good pair of recently serviced & tuned Bb ears they wish to
sell? I`m looking for a "matched pair". Not more that 58 years old. Would
that make them of the full Bo(ear)hm type with a low Eb?
Best,
Tony W.

Subject: Re: [kl] Unloading.....

> <><> Bill Hausmann and Tony Wakefield both said, more or less,
> that there's more to the question of tone color at higher pitches than
> just the number of possible components.
>
>
> I agree. I only meant that many of the contributing causes are
> discussed frequently -- limits of human hearing, decay of hearing with
> age, details of embouchure and breath support and 'chops strength' and
> alternate fingerings, and so forth.
> My intention was merely to point out a factor that I've never heard
> discussed before.
> It was a novel idea to me that, in addition to everything else,
> there are fewer tone colors available at higher pitches -- no matter
> what your playing skills or hearing capacity happen to be.

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