 The Clarinet BBoard
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Author: Markus Wenninger
Date: 2006-04-22 09:17
Probably a trivial topic to mention - it´s just that I had my clarinet for complete overhaul, and it sounds so marvellous! ...Now there´s a distinctive difference between normal playing and key/fingerpop-sound whilst playing, hehe, all pads have been exchanged, overdue after more than 10 years of use. You should have seen the eyes of the maker, as I played a multiphonic timbrethrill then, w/ and w/o keypops, so wonderful to distinguish now, it really was worth the money.
Markus
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Author: larryb
Date: 2006-04-22 12:47
Markus - good for you!
Just wondering: I've always assumed that "key/fingerpop" was a good thing, indicating perfect seal. Is that correct?
Once you achieve "pop," what is "normal" playing?
Enjoy your "new" horn.
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Author: Markus Wenninger
Date: 2006-04-23 12:31
"Normal" is an illfitting term by me for silent playing, without the sound a finger makes when it´s brought down on the keyhole/instrument. Quite often in modern posttonal music there´s a modified way of bringing-down, aka letting it be heard, like a pop (especially flutists know this effect since long, and e.g. in shakuhachi playing this is the case from the very origin of the instrument. The silent way of tone produktion has its roots in the tonal music, like nearly everything besides inclosure of noise into music/ the musicalisation of noise of every kind, the principal idea was that the using/handling etc of the instrument itself is considered non-music. Luckily those ignorant times are over (how many of us have been scolded for rattling with pots and pans as children, for the sheer delight we experience in scraping across various surfaces, hummig and gurgling along often in times when we´re nervous or waiting etc), and the left hand´s fingers of stringinstruments can be used for letting the sound of setting, as the clicking/popping sound as far as windinstruments are concerned can be used as an effect, and - to end this list, e.g. the act of inhaling, of setting the jaws, the tongue etc, all those sounds of the act of pronounication, breathing, coughing, retching, whailing, sputtering, whistling etc etc in modern singing (I just mentioned this because of the closest relation the wind family and the human voice have). So, as in all modern posttonal music, the clear advantage of knowing and using this techniques is to be able to use them at will, to be capable of more, like popping or not with one´s fingers.
Markus
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