Klarinet Archive - Posting 000238.txt from 2004/08

From: "Forest Aten" <forestaten@-----.net>
Subj: Re: [kl] Objective of the Ligature
Date: Mon, 9 Aug 2004 13:25:09 -0400


All I can tell you is what I've been taught by well-respected clarinetists.
It's my understanding that the function of the ligature is to hold the reed
on the mouthpiece.

I think so too...

I was taught that the entire reed vibrates-not just the
tip

Does this matter?

so if you have a ligature that restricts that vibration at any point,
the sound becomes a bit stuffy. (my own words here) I can't even define
that in words for someone else to understand-someone would have to listen
and hear the difference. I can't get into the acoustics and the technical
aspects of all of this-all I know is that different ligatures do make a
difference in the tone of the clarinet, as does the positioning and fit of
the ligature on the mouthpiece.

I thought the main objective of the ligature WAS to hold the reed into place
securely on the table of the mouthpiece? I thought that the ligatures that
do a good job of securing the reed to the mouthpiece create a more stable
enviornment for the reed to vibrate....and a lot less trouble from one reed
to the next. I'm not sure what you mean by saying "restricts that
vibration"? What vibration?... and does the vibration that you are trying to
describe matter at all in the overall scheme of things?

In the book "Clarinet Acoustics," by O. Lee Gibson, there is a blurb on
pages 60-61 regarding clarinet ligatures. The belief that a reed will
vibrate more freely if held on by a ligature that provides limited pressure
points, rather than a "complete envelopment" developed in the 20th century,
according to Mr. Gibson. He goes on to say that the reed may play "more
brilliantly and strongly with a ligature that is moved toward the base of
the reed. (he gives the Rovner ligature as an example of this)

Lee was my clarinet instructor and mentor at North Texas in the late 60's
early 70's. As hard as Lee tried to be the scientist, much of what Lee
described in the way of science was antidotal, his book on acoustics being
one exception....but not without error....
I'm not sure I ever bought into his observations on ligature/reed
performance. Lee, by the way, used a Bonade inverted ligature almost all of
his playing career although he was always trying new things. He was always
trying very hard to describe differences between one "thing" and another
"thing". An aside...Lee Gibson was a very fine clarinetist. There is always
much talk about his book on clarinet acoustics....but his real strength was
as a player and a teacher. Many of Lee's former students are "working".
Gibson had a wonderful sound and he knew how to "turn a phrase"....he also
knew how to teach others how to "turn a phrase". He was also a great
analydical teacher, instilling independence of thought and action in his
students.

I think the main thing to keep in mind is that different things work
for
different people and we all need to experiment before settling on any given
"setup" for our instruments.

I agree totally....but....
What if we could collectively agree on a few important facts about ligatures
that would help us:
1st...dispell much myth (voodo marketing) about ligatures
2nd..select a ligature that creates an sound generation enviornment that is
stable and consistant...under many conditions

I think that highly sensitive ears are
important and I always know a student is really listening to themselves
playing if they start becoming frustrated when they can't produce the sound
they want on their clarinet or if their clarinet tone doesn't sound like
mine, or the one they've heard on a recording, for example. I do think that
much of that can be taught.

How many of you out there....when trying to produce the sound of a great
player you've heard on a recording, knew or even thought about knowing what
kind of ligature the player was using?
How many of you that have studied with great players were shocked when you
heard that player up close and personal?

Just few a thoughts...

Forest Aten

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