Klarinet Archive - Posting 000581.txt from 2004/10

From: Adam Michlin <amichlin@-----.com>
Subj: RE: [kl] Some more thoughts on embouchures
Date: Thu, 21 Oct 2004 12:40:14 -0400

At 11:42 AM 10/21/2004 -0400, you wrote:
>Adam,
>
>Two points.
>
>1) From the viewpoint of a person who has spent my whole life (so far) in
>science education, I appreciate the value of analogy (the "one hand
>clapping" image) but find slick analogies to be dangerous if they lead to
>the wrong conclusion. I think there is serious doubt among your list
>colleagues whether that analogy is indeed appropriate.

If I were teaching a class on science, I would be very concerned. I am less
concerned in that I am trying to explain sound production on a musical
instrument. My analogy is perhaps incorrect (I'm still not convinced). Your
criticism is, nonetheless, valid.

I will likely have to either remove it or better be able to explain it. In
practice, it does work quite well. In print, it seems it may be hopeless.

It is common tactic when trying to dismantle someone else's argument to
focus on the one thing your opponent did wrong to the exclusion of all else
they may have said of value. I do not look at the members of this list as
opponents, I look at them as allies who will quite helpfully protect me
from future attacks of my real opponents by exposing any and all weakness
in my argument.

I do realize that if my initial assumptions are incorrect that everything
which follows is suspect.

>2) Never forget the flute - nothing beats on anything, and yet there is a
>very nice tone. Ergo - it is not necessary to have the air flow stopped
>at any time in order for a tone to be produced.
>
>I think it may be "back to the drawing board" time for you.

The mechanism for sound production of a flute is an entirely different set
of physical phenomenon. Air support, exactly the same. Music, exactly the
same. Method of sound production, very different.

The one universal truth I can't imagine anyone disagreeing with is that
something *must* vibrate in order for a sound to be achieved. This has to
be the reed on the clarinet, but we can easily demonstrate this alone is
not enough. The question becomes: what else is necessary? I think I can and
have answered what else is necessary, now I'm after why it is necessary.

-Adam

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