Klarinet Archive - Posting 000852.txt from 2000/07
From: Bilwright@-----.net (William Wright)
Subj: Re: [kl] Carbonare's Selmer
Date: Mon, 24 Jul 2000 15:06:13 -0400
<><> Edwin@-----.=A0Lacy wrote:
I think possibly what you mean to refer to here is the upper register
notes in relationship to the lower register ones. The discrepancy in
intonation is caused by the necessity of placing the register key vent
at a compromise position for the various functions it must fulfill.
However, once you play an upper register note, if analyzed it will
become apparent that the note has become a fundamental of its own, with
a harmonic spectrum containing the same intervallic structure between
the various partials as any other note.
Whether or not the harmonics are exact whole-number multiples of the
fundamental is something that acousticians discuss and disagree about
fairly regularly. Some say that the overtones are physical functions of
the frequency of the fundamental and therefore must be in tune, while
others claim to have demonstrated inharmonicity in the harmonic
structure of woodwind instruments. It would be helpful to us all if they
could settle that question.
Thank you, Ed, for this reply. I was in fact wondering what happens
to the original fundamental when the register vent is open. I was going
to do some more reading before I asked the question here.
The reason that I care about clarinet physics is not because I'm a
physicist. Rather, having some idea of what happens inside a clarinet
helps me to visualize what I should be doing with my embouchure, breath,
and so forth. So at some point, I'm willing to shrug my shoulders about
the physics and to focus my attention on my playing.
I feel the same way about the relationship (if any) of "dark" and
"bright" to spectrum analysis of tones. Not that it's a boring subject,
but there are only so many hours in a day and only so many dollars in my
budget. So when it doesn't relate to my playing, then for the moment,
I'd rather put it aside.
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