Klarinet Archive - Posting 000035.txt from 2010/12

From: "Karl Krelove" <karlkrelove@-----.net>
Subj: Re: [kl] kl] Snake Charmers
Date: Fri, 03 Dec 2010 13:51:04 -0500

Beyond this, there is the less mathematical effect of exaggerated, careless
body movement on the contact between the mouthpiece and the player's
embouchure. I'm certain players of Sabine Meyer's caliber are very aware of
the possibility, but it doesn't mean it doesn't happen, even to them
(consider the already mentioned Schifrin anecdote). I've heard live
performances of major players when there were audible changes in their sound
during legato passages during large swoops or lunges.

Karl

-----Original Message-----
From: Tim Roberts [mailto:timr@-----.com]
Sent: Friday, December 03, 2010 1:05 PM
To: klarinet@-----.com
Subject: [kl] kl] Snake Charmers

"Jim Lytthans" <lytthans@-----.net>
> ...My real
> issue with over-done movement with wind players is the Doppler effect. I
can
> hear this moving train pitch shift on recordings...

My initial reaction was to scoff at this. Intuitively, it seemed
impossible that a clarinetist could generate enough speed to Doppler
shift the pitch to a detectable degree. Being an engineer, I decided to
run the numbers.

I read that a frequency difference of 0.3% is detectable by the human
ear. Running that through the Doppler equations, it would require a
velocity of 0.5 meters per second to generate that difference.

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