Klarinet Archive - Posting 000575.txt from 2004/10

From: Adam Michlin <amichlin@-----.com>
Subj: RE: [kl] Some more thoughts on embouchures
Date: Thu, 21 Oct 2004 11:57:27 -0400

OK, now we're getting somewhere.

This does not explain the reason why I can blow an air sound only and then
apply pressure to the reed to create a clarinet sound. How I wish I had a
clarinet in my hands. Please elaborate.

Then rewrite the following paragraph such that anyone with a bit of common
sense can understand it and we'll have our solution. I've tried and,
apparently, failed. I'm certainly not too proud to ask for help.

I'm also curious if you disagree with my reasoning for the most efficient
way to apply pressure to reed, leaving aside my poor explanation of how the
clarinet produces a sound.
Or maybe you feel applying pressure to the reed is unnecessary?

-Adam

At 10:20 AM 10/21/2004 -0500, Forest Aten wrote:
>The action of the player blowing across the reed causes the pressure
>oscillation at the tip of the reed, a pressure antinode. Air rushing back
>and forth into the open hole creates a motion antinode at that point, and
>squeezes the air in to contribute to a large pressure variation at the
>mouthpiece. Pressure variation excites the air molecules and establishes the
>wave form. This process does not require the reed tip to touch the
>mouthpiece or to close completely at the mouthpiece tip to establish sound.
>As a matter of fact, it is likely that there would be serious defect in the
>quality of sound being produced if enough air pressure was introduced to
>force the reed tip to touch the mouthpiece tip. This in the form of "noise".
>The dimensions of the mouthpiece and bore of the clarinet determine the
>nature of the wave form (and sound) once introduced. (material has
>negligible effect)

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