Klarinet Archive - Posting 000780.txt from 2002/04

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Embouchures in general
Date: Fri, 26 Apr 2002 18:12:01 -0400

On Fri, 26 Apr 2002 17:34:32 EDT, LeliaLoban@-----.com said:

> Karl Krelove wrote,

> > Am I alone in finding that my tactile (auto-kinetic?) sensitivity
> > in ensemble situations is often completely unreliable? Sometimes
> > what I'm doing "feels" fine until my part is suddenly exposed and a
> > quick adjustment of my pitch or tone becomes necessary. I don't
> > "feel" rhythm in my fingers nearly so accurately when I can't also
> > hear the result. As a consequence passages that I can play
> > perfectly competently when I can hear them can become befuddling
> > and hard to control when I can't hear them through the din around
> > me.
>
> Aside from the orchestra sound making your own sound more difficult
> for you to hear, the sudden difference when the orchestra drops back
> and you solo is not just a difference in your hearing. Part of it is
> a real, measurable difference in what your clarinet produces, relative
> to the other ambient sounds in the room. The instruments around you
> produce multiple sound waves that interfere with your sound waves to
> *change* your pitch and your tone quality.

No, that's not so, Lelia. Such combination tones do exist in
perception, it's true, due to nonlinearities in our ears, but not in
'real, measurable' terms. The organ builders use this perceptual
phenomenon to generate the *illusion* of low frequencies, for example.

There was a long thread about all of this about a year ago, which I'm
sure few people want to recapitulate.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
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