 The Clarinet BBoard
|
Author: contragirl
Date: 2000-09-17 14:16
Ok, I was wondering how much tone differs between players. I mean, I have been told I have a good tone, well suported, dark, and stuff. But I have heard one guy and my teacher (If anyone has ever heard Michael McDonald, Prinicipal of DC Navy band), and they have a completely different tones than I do. This guy I met this year is the first that I have heard that almost similar to Mr McDonald's tone. Maybe they have abrighter tone, and i have a darker tone? That is what I am thinking... Maybe it is something that differs in female and male players?
|
|
Reply To Message
|
|
Author: Dee
Date: 2000-09-17 14:24
contragirl wrote:
-------------------------------
...That is what I am thinking... Maybe it is something that differs in female and male players?
-------------------------------
I very seriously doubt it. They may happen to have different setups that give them a different tone. Every player and every setup is somewhat different.
|
|
Reply To Message
|
|
Author: Eoin
Date: 2000-09-17 14:35
But tone depends not just on the clarinet and setup, but also on the shape of the player's mouth and throat, position of tongue and so on. I've heard that a good player can produce his or her distinctive tone on any set up within limits.
|
|
Reply To Message
|
|
Author: William
Date: 2000-09-17 17:12
To echo Eoin's statement, Bernard Portnoy (the noted mouthpiece maker and clarinetist) once told me that everone has his own "sound" no matter what set-up they use. The concept for sound characterisics lie within the player's own mind and no matter whose mouthpiece they play on, they will always,eventually, produce the sound that they have "inside." Works for me--no matter how much I pay for the newest mp on the market, I still sound like me, for better or for worse. Also, I doubt that gender has any role in quality of sound. Good luck.
|
|
Reply To Message
|
|
Author: Nate Zeien
Date: 2000-09-18 00:14
Contragirl, I have to agree. Tone isn't gender specific. Everyone does have their own tone. Equipment can have a big effect on this too, of course. -- Nate Zeien
|
|
Reply To Message
|
|
Author: Hiroshi
Date: 2000-09-18 00:19
Thick heel reed or regular heel reed makes the tone different. Use regular for Rossini,and use V12 for Brahms with the same other set up.
|
|
Reply To Message
|
|
Author: Bob Sparkman
Date: 2000-09-18 01:50
Hi - the same question came up yesterday - see Lee's "vibrant tone" query. I suggested that it's very difficult to compare your own tone from behind your clarinet as you blow, with someone else's you're listening to from "outside". I think this has happened to all of us. Better to have a knowing third party listen to both and comment; but if your tone has been complimented by a teacher or other clarinetist, you should probably stick with it. I'll bet some expert could attribute it to a different processing of overtones in each case, but I'm guessing. Wow, what we go through in our quest for that "perfect sound"!! Isn't it wonderful!? All the "best in your quest" Bob contragirl wrote:-------------------------------Ok, I was wondering how much tone differs between players. I mean, I have been told I have a good tone, well suported, dark, and stuff. But I have heard one guy and my teacher (If anyone has ever heard Michael McDonald, Prinicipal of DC Navy band), and they have a completely different tones than I do. This guy I met this year is the first that I have heard that almost similar to Mr McDonald's tone. Maybe they have abrighter tone, and i have a darker tone? That is what I am thinking... Maybe it is something that differs in female and male players?
|
|
Reply To Message
|
|
Author: Matt M.
Date: 2000-09-19 08:08
There are (at least) two main parts of tone.
One is the timbre - the kind of difference in sound that you'd see on an oscilloscope & spectrum analyzer. This is affected by the horn, reed, mouthpiece, ligature, embouchure, and tongue position.
See http://www.sneezy.org/clarinet/BBoard/read.html?id=245
for an great exercise for this kind of tone.
The other part is the meaning of "tone" when you refer to someone's "tone of voice" - the extremely subtle, personal touches that come *between* and *behind* the notes.
Often, when we hear music that moves us because of the great *sound*, it's Tone (#2) that is often what does it. It's the way the performer phrased things, from the tiniest detail of each interval all the way out to the structure of the whole piece.
BUT... our ear often tricks us, and makes us think that what we're impressed by is Tone (#1).
So... while it's important to be concerned about Tone (#1), it's much more musical and effective to the listener to concentrate on Tone (#2), tone between the notes. That is, making everything smooth, and keeping notes from popping out.
Oftentimes we unconsciously accent the "strong beats" of every measure. This makes for a very regimented, "march" feel. If you're playing a very legato passage, try *de-emphasizing* all the strong beats and higher notes: you can smooth out a passage by compensating for notes that would otherwise stick out when played "evenly."
Don't let the advertisements fool you - the most important part of tone is **how** you play, not what you play.
-Matt
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
