The Clarinet BBoard
|
Author: Rusty
Date: 2008-12-08 00:15
I`m happiest with a fairly open mouthpiece (Hite Prem) and a No. 2 RR. reed for most of my clarinet playing but I`m doing a pretty poor job on the B ( over top stave) and anything else above that.
My query is am I wasting my time trying to achieve these higher notes with the mouthpiece and reed strength that I`m using? Are they only achievable with smaller m.piece opening and harder reed?
|
|
Reply To Message
|
|
Author: skygardener
Date: 2008-12-08 00:37
"My query is am I wasting my time trying to achieve these higher notes with the mouthpiece and reed strength that I`m using? Are they only achievable with smaller m.piece opening and harder reed?"
Hard reeds are not requisite for high notes, but at certain points in one's experience they can help. Try 2.5, but don't think that "good player"="hard reed"- it's not weight training.
|
|
Reply To Message
|
|
Author: Pappy
Date: 2008-12-08 00:43
I think it's more embouchure than reed/mpc. But - the Hite Prem, if I'm reading the chart right, is about a .042 inch opening. I often play on Portnoy mpc's = all of which are more open than that. On the mpc closes to that one, at .043 inch opening, I usually use a 56 RLP at 3.5+ or a Mozart 3.5 or a F.O.F. 3 3/4 and the altisimo speak very well. A little more open than that, a little softer reeds, but with good results. The most open (at .048 inches), I have some trouble with the highest B and C - they play but don't "speak" well. I'd say, as skygardner said, gradually inch up the "strength" of the reed and see what happens. A .042 opening should support somewhat harder reeds.
|
|
Reply To Message
|
|
Author: JJAlbrecht
Date: 2008-12-08 00:45
IIRC, the suggested reed for a Hite Premiere is a tad harder, somewhere around a VD 3 or 3.5.
This from the Music123.com site:
Produced in one medium preferred facing, the Premiere clarinet mouthpiece line is hand-finished to the highest professional standards. The acoustically efficient design results in a pleasant, resonant sound produced without excessive physical effort. The medium facing is well suited to a Vandoren No. 3 (or comparable) reed.
Jeff
“Everyone discovers their own way of destroying themselves, and some people choose the clarinet.” Kalman Opperman, 1919-2010
"A drummer is a musician's best friend."
|
|
Reply To Message
|
|
Author: cxgreen48
Date: 2008-12-08 00:49
I don't know why, but reeds like Rico, Rico Royal, Mitchell Lurie are more difficult for me to play in the altissimo register.
When I switched to Vandoren, the altissimo notes were noticeably easier to get out. Also, the GCS Evolution reeds made altissimo notes easier to get out too...
Perhaps it is the thickness and density of the cane that helps higher notes speak. I also found moving up reed strength help getting out higher notes as well.
|
|
Reply To Message
|
|
Author: Sambo 933
Date: 2008-12-08 01:00
Personally I've had the best results with size 4 reeds...in all registers..
It guess it's pretty much whatever works best for you. Try different sizes and find out which one gives you the best results.
|
|
Reply To Message
|
|
Author: JJAlbrecht
Date: 2008-12-08 01:11
"Personally I've had the best results with size 4 reeds...in all registers.."
Assuming you meant strength 4, that would also depend on other factors, including the brand and model of the reeds in question. Are you using a Hite Premiere mouthpiece and Rico Royal reeds? If not, the strength you are using is immaterial to the question posed by the original poster..
Jeff
“Everyone discovers their own way of destroying themselves, and some people choose the clarinet.” Kalman Opperman, 1919-2010
"A drummer is a musician's best friend."
|
|
Reply To Message
|
|
Author: Sambo 933
Date: 2008-12-08 02:27
Jeff,
I in no way intended to say that the original poster should start using size 4 reeds, I was simply stating my personal experience. As far as my post goes the advice given was that it would be a good idea to try different strengths and brands to get an idea of what works best for said individual.
If my post is "immaterial" to the original poster than your "non-advise" is altogether irrelevant.
Post Edited (2008-12-08 02:28)
|
|
Reply To Message
|
|
Author: Rusty
Date: 2008-12-08 02:45
If you folks are saying that a smaller tip opening allows me to play a harder reed then fine I`ll give it a try but normally its a battle to blow above a 2.
I think most of you are preferring/suggesting a harder reed, so that answeres my original query, but I might try just another reed type, or brand, e.g. Legere, Vandoren (but sanded a little) at same strength.
|
|
Reply To Message
|
|
Author: David Spiegelthal ★2017
Date: 2008-12-08 03:08
As a mouthpiece refacer, I can tell you that the ability to play altissimo easily is very much affected by the way the curved facing of the mouthpiece blends into the flat table --- this is irrespective of the openness of the tip and has a greater effect than the softness/stiffness of the reed. Your mouthpiece may play fine in all other respects, but if it can't play altissimo, then it would benefit from some tweaking.
|
|
Reply To Message
|
|
Author: hans
Date: 2008-12-08 03:18
Attachment: ShawMethodInstructionsP2.bmp (311k)
Rusty,
Artie Shaw excelled at playing in the high altissimo range so maybe an excerpt (attached) from his Method book will help to guide you.
Hans
|
|
Reply To Message
|
|
Author: Rusty
Date: 2008-12-08 04:42
David, interesting but I`m in Australia and I`m not aware of any MP tweakers where I live.
Hans, thanks for your kind offer of the Artie Shaw info. But I can`t view the attachment. I`ll try and locate his Metod book on Google.
|
|
Reply To Message
|
|
Author: NorbertTheParrot
Date: 2008-12-08 13:10
I suspect that there is some confusion about which B and C are causing you problems.
I think you (Rusty) are a near-beginner and are talking about B and C at the upper end of the clarion register, written B5 and C6 on the first and second ledger lines above the stave.
However, some of the replies above - the reply referring to Artie Shaw in particular - seem to be written in the belief that you are talking about altissimo B and C, an octave higher and five ledger lines above the stave. These altissimo notes are rarely required, and certainly shouldn't be attempted by a near-beginner.
Perhaps you should clarify which B and C you mean.
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2008-12-08 15:38
Purely from a physics standpoint, the reed MUST have a natural frequency of vibration that is HIGHER than the note you want to play. The best to make this happen is to use a stiffer reed.
The unacceptable alternative is to "bite" on the reed. What this does to enable the highest notes is to squeeze the reed against the curve of the mouthpiece rails and shorten length of reed that is free to vibrate. This is bad because it requires the player to change embouchure (biting) in the high register, and because it reduces the amount of reed that is flapping against the air column and driving the sound. Biting in the low registers will cause squeaks (the higher natural frequency of the reed), and thin the tone.
A corollary to the stiff reed is that it is harder to play. This difficulty can be offset by adapting the mouthpiece to the harder reed. A longer lay and/or a wider tip opening. A longer lay on the mouthpiece increases the length of the reed that is vibrating in your mouth, and that lowers its natural frequency.
You have to experiment. In the end, you want to be able to play across the "upper break" without having to make any adjustments to your embouchure and get a clean sound in all registers with that embouchure, reed and mouthpiece.
I'm fortunate in that my teacher can imagine what's going on inside my mouth with a clarity of vision that rivals that of a fiddle teacher who can see everything the player is doing.
Persist.
Bob Phillips
|
|
Reply To Message
|
|
Author: Old Geezer
Date: 2008-12-08 16:16
Unless I'm completely misinformed I believe Bonade played on quite a soft reed, no more that modern VD 1 1/2/ or 2? I think Lancelot said he used a VD 2 all his life....
A soft reed can handle higher notes but most find them difficult to control up there.
For a while I used a VD traditional no. 2 (select stock) with some satisfaction. But they've discontinued the select stock (with poor results) so I gave up on them. I wish they had a select stock with V12s. The boxes of select stock were clearly (to me) better.
Clarinet Redux
|
|
Reply To Message
|
|
Author: NorbertTheParrot
Date: 2008-12-08 16:19
"Purely from a physics standpoint, the reed MUST have a natural frequency of vibration that is HIGHER than the note you want to play. The best to make this happen is to use a stiffer reed."
Reference please. I'd like to see a reliable source to confirm:
1) the reed MUST have a natural frequency of vibration that is HIGHER than the note you want to play
2) assuming that (1) is true, that there are reeds on the market whose natural frequency is lower than some notes one would like to play.
You may be right, I'm not saying you are wrong. But some evidence would be nice.
....................
I normally play a 3 or 3.5 (Vandoren strength, not Rico Royal strength).
I have just tried playing on a Vandoren 1.5; one of the two reeds I started on, just a few years ago, which have been lovingly stored in the bottom of a drawer. I can play up to altissimo G with no problem. I can even squeak out an altissimo C (fifth ledger line).
What I can't do on such a soft reed is play reliably in that range. The slightest error, and the sound stops. The upper clarion B and C are especially treacherous.
Post Edited (2008-12-08 21:17)
|
|
Reply To Message
|
|
Author: Roger Aldridge
Date: 2008-12-08 16:44
At risk of adding another layer of complexity to the discussion, it's my understanding it may be possible to have good altissimo with somewhat softer reeds by using a double-lip embouchure.
Also, in discussing soft versus hard reeds one needs to keep in mind the importance of taking enough of the mouthpiece beak into the mouth. That is, placing the lower lip at the fulcrum point where the reed separates from the facing curve. Some players don't take in much mouthpiece and as a way to compensate use stiffer reeds than otherwise would be necessary if they took in more of the mouthpiece.
Just an example of how a number of variables come into play in what may appear to be a simple topic.
Roger
|
|
Reply To Message
|
|
Author: hans
Date: 2008-12-08 17:19
Rusty,
The Artie Shaw Clarinet Method book has been out of print for many years, unfortunately, and may be difficult to find. If you'll send me your email address I'll send you the page from Artie's book.
Hans
|
|
Reply To Message
|
|
Author: Rusty
Date: 2008-12-08 18:29
Very kind of you Hans. I don`t know why your "attachment" did`nt come thru` but emale address is, russhobby@hotmail.com
|
|
Reply To Message
|
|
Author: CarlT
Date: 2008-12-08 20:51
Norbert said, "I think you (Rusty) are a near-beginner and are talking about B and C at the upper end of the clarion register, written B5 and C6 on the first and second ledger lines above the stave."
This thread has been especially interesting to me. I am into my 8th month of playing now, and I have had a problem with B and C (upper clarion, not altissimo register) ever since I started going over the break.
I play on fairly closed mouthpieces...sometimes a Fobes Debut, and sometimes a 5RVL, the Fobes being the more closed of the two. I play with a no. 2-1/2 and a no. 3 VD reed (2-1/2 on 5RVL; 3 on Fobes Debut). I can now begin to play the B and C in Clarion about half the time without the reed closing up on me. Weberfan gave me some very good advice, and that's to at least try a VD M13 or an M13L mouthpiece with the above reed combos, but due to illness in my family, I have not been able to do so yet. Perhaps that will work, and I'm anxious to try. As said, I do believe it's getting better with my slowly improving embouchure and technique.
My teacher told me last lesson to try blowing long tones (again) and slowly tongue up to these notes, and I do believe it's working.
I fear that a 3-1/2 reed, for me anyway, would be way to hard at this point of my playing career.
Thanks for listening, and I hope this helps someone who is in the same boat as Rusty and I are in.
CarlT
|
|
Reply To Message
|
|
Author: NorbertTheParrot
Date: 2008-12-08 21:16
CarlT wrote: "I am into my 8th month of playing now, and I have had a problem with B and C (upper clarion, not altissimo register) ever since I started going over the break."
Well, I am in my eighth YEAR of playing - and I still treat those upper clarion notes with great respect. Particularly when descending from the altissimo to the upper clarion, the B and C are, I think, the most treacherous notes on the instrument. Slurring to them is easy (for me, anyway). Tonguing them is not.
A good reed - not necessarily a very hard reed - makes all the difference. Pretty well any reed will produce the notes, but an inferior reed won't respond reliably when you tongue them.
[Edit - the preceding paragraph is OPINION, not FACT. Or at least, it's FACT for me, but may not be FACT for everybody. For all I know, there may be people out there who can tongue these notes reliably on absolutely any reed.]
If you have the Davies & Harris 80 studies, book 1, look at #50. It comes from Stark. It requires you to play, staccato:
D6-D6-D6-C#6 C6-C6-C6-D5 C6-C6-C6-B5 Bb5-Bb5-Bb5-D5 Bb5-etc
I play the Bb5 as x00 0x0 (rather than using the side key) to give an easy transition to and from D5.
........
CarlT mentioned that he wants to try an M13. Until recently I played an M15, which is only slightly less closed. I've now changed to a rather more open mouthpiece. My perception is that the more open mouthpiece is more responsive in this sort of passage. Very closed mouthpieces are a bit of a USA speciality, and have a lot of proponents on this rather US-dominated BBoard, but they aren't necessarily the best way to go.
Post Edited (2008-12-08 21:22)
|
|
Reply To Message
|
|
Author: mrn
Date: 2008-12-08 23:40
Norbert wrote:
<<Reference please. I'd like to see a reliable source to confirm:
1) the reed MUST have a natural frequency of vibration that is HIGHER than the note you want to play
2) assuming that (1) is true, that there are reeds on the market whose natural frequency is lower than some notes one would like to play.>>
I think I can give you at least a partial answer to #1. Aside from a reference on the UNSW clarinet acoustics website to the reed's resonant frequency being greater than the resonant frequency of the note (I'll bet Benade actually gives a more complete explanation), it occured to me that there is a mathematical argument that can be made that a reed generally has a "low pass" response to a sinusoidal input. In other words, the reed tends to filter out frequencies higher than the resonant frequency. This filtering is a result of the reed's stiffness.
Basically, the idea is that you can model a reed as a simple mass-spring system (picture a weight mounted on the top end of a mattress spring). Engineers model the vibrations in airplane wings the same way (which, like reeds, are fixed beams that bend at their tips). When you work out the math for the mass-spring system (they do this in an old engineering textbook of mine--Design of Feedback Control Systems, by Hostetter et al.), it turns out that if you apply a sinusoidal force to such a system, how much the system actually vibrates is a function of the frequency of the force applied, and this function is that of a 2nd-order low-pass filter.
What this means is that at frequencies above the resonant frequency, the mass-spring system greatly inhibits vibration (due to the stiffness of the spring), but permits vibration below the resonant frequency (although you get an even higher level of vibration at the system's resonant frequency). As they show in the book, you increase the stiffness of the spring the resonant frequency becomes higher.
As it turns out, this is exactly what happens in airplane wings (because they behave like mass-spring systems), so when they design them they make sure to make them stiff enough that the resonant frequency is much higher than the frequency of rotation of the engines (thus permitting wing vibration but at a controlled amplitude). They use the mathematics of the mass-spring model to estimate the amount of stiffness needed, and practice has shown that this model is sufficiently accurate to permit engineers to do this.
For purposes of analyzing a reed's natural resonant behavior, a reed that is fixed to a mouthpiece with a ligature is analogous to an airplane wing, and we would expect it to behave the basically the same way (in other words, a reed behaves at least as much like a mass-spring system as an airplane wing does). I could go into the specific mathematics, but I doubt anybody cares to read a bunch of equations. Suffice it to say that a reed will vibrate at frequencies less than resonance and that the resonant frequency of the reed increases with the reed's stiffness.
|
|
Reply To Message
|
|
Author: NorbertTheParrot
Date: 2008-12-09 00:10
From http://www.music.mcgill.ca/~gary/618/week9/node7.html we learn:
"The lowest resonance frequency of a typical clarinet reed falls approximately in the range 2-3 kHz, while normal playing frequencies for clarinets are below 1 kHz"
1 kHz is roughly concert C6, or D6 on a Bb clarinet. A good player can get an octave higher than that.
This might seem to suggest that Bob Phillips is correct to argue that you can't play very high notes (above 2 kHz) on very soft reeds (whose resonant frequency might be below 2 kHz).
But I had little difficulty playing written C7, with a frequency around 2 kHz, on an ancient Vandoren #1.5.
Is the resonant frequency of a soft reed actually any different from that of a hard reed? Or is the only difference the amount of energy required to make the reed vibrate? What determines the resonant frequency of a reed:
- the material?
- the thickness?
- the length of reed that is free to vibrate?
|
|
Reply To Message
|
|
Author: kdk
Date: 2008-12-09 01:20
I always am fascinated by discussions of the physics involved in clarinet playing, and this one is interesting. I'm not convinced that a reed really behaves like an airplane wing, mostly because (a) it isn't attached at its edge - the ligature holds the reed over an area that starts near the reed's midpoint and ligature design is predicated on the theory (whether it's true or not) that the entire reed vibrates; and (b) the force driving the reed - assuming it's provided by the player's airstream - doesn't seem to be periodic - in fact one of the staples of effective technique is the ability of the player to produce a steady airstream.
My understanding, FWIW, has always been that the upper notes are less stable simply because of their position in the harmonic series and *in some cases* because of the acoustic compromises made in the instrument's design to manage the problems caused by overblowing 12ths using a single register vent.
In any case, none of the physics discussed in the last few posts is likely to be of much use to a beginning player who is having trouble playing or controlling the higher notes of the clarinet's compass. In general, in my experience, difficulty above G5 (1 note above the staff) almost always turns out to improve with a small increase in reed strength. This is not facing dependent - most beginning players regardless of what mouthpiece they're using end up starting with either #1-1/2 or #2 reeds of whatever brand they are sold with the instrument. For anything but an extremely open facing (none of the ones that have been mentioned here qualify for this description) these strengths are really not ideal, although the strength that is ideal depends on the actual mouthpiece in question (and, for a more skilled player, the amount of resistance he/she is comfortable with). It isn't that an accomplished player trying to prove a point *can't* play decently on these light strengths, but that it isn't as straightforward and involves some adjustment (however unconscious it may be) that is beyond a beginner or very inexperienced player. What's important is to try different strengths to see if they improve the situation or not. The worst that will happen is that it makes matters worse instead of better and the player is stuck with a few reeds he/she can't use (won't be the last time *that* happens).
I don't mean to put a damper on the discussion about resonant frequencies or any other physical explanations of what's going on - I'd be happy to see more of it.
Karl
|
|
Reply To Message
|
|
Author: huff n' puff
Date: 2008-12-09 10:22
This must be the epic to end all epics..........
Can I throw this thought in........ I do not know what instrument is being played, but is it possible that the B and C at the top of the clarion reg are actually a bit flat, and that Rusty- though a beginner- has been cursed with a good ear for pitch?
This could cause him to bite even if he knows that he should not have to, and will diminish his chances of playing the notes well. I am speaking from experience here, because those two notes- and the corresponding 12ths down were slightly flat on my B12, and I was biting whenever I had to sustain either of these notes (or fake the fingering). After "correcting" them the problem has disappeared.
Rusty........ sorry to put you into the third person!........ Bash on........ H&P
|
|
Reply To Message
|
|
Author: saxlite
Date: 2008-12-09 14:41
One item not mentioned in any of the above postings is the importance of "balancing" the reed. The upper register response of reeds from any commercial vendor can be significantly improved by using simple balancing techniques such as Tom Ridenour's ATG system or the equivalent. I'm surprised that so few of the musicians I know have bothered to learn to balance reeds- most seem to accept whatever comes out of the box and throw away the ones that don't immediately give good results. Each mouthpiece is slightly different and reeds must be adjusted to work with the particular mouthpiece for optimum results. With a small bit of effort, most reeds can be dramatically improved. Much can be learned by searching the site for advice on balancing and reed tweaking in general.
|
|
Reply To Message
|
|
Author: mrn
Date: 2008-12-09 14:47
kdk wrote:
<<I'm not convinced that a reed really behaves like an airplane wing, mostly because (a) it isn't attached at its edge - the ligature holds the reed over an area that starts near the reed's midpoint and ligature design is predicated on the theory (whether it's true or not) that the entire reed vibrates; and (b) the force driving the reed - assuming it's provided by the player's airstream - doesn't seem to be periodic - in fact one of the staples of effective technique is the ability of the player to produce a steady airstream.>>
While these things are true, they don't really invalidate the physical analogy with a mass and spring. Even if the whole reed vibrates to a certain degree, the major component of reed motion is still the bending of the vamp portion of the reed--the fact that the rest of reed may experience other vibrational modes doesn't change that. The biggest assumption that I made was that the spring action is *linear* (that is, there is a spring constant, as opposed to something more complicated). A real reed (and a real airplane wing, for that matter) is nonlinear. Nonetheless, in a surprisingly high number of applications (in fact, probably most of the time) a linear model will suffice to explain the basic operation of a physical system in a qualitative way. So that is a simplifying assumption I'm making, but I think it's probably good enough here to explain what happens--you have to make the same kind of simplifying assumptions in the airplane case, too, and since I never acutally relied on the assumption that only part of the reed vibrates, reeds and wings are not really as different for our purposes as they might seem. Besides, real airplane wings (along with the fuselages they're attached to) vibrate along their whole length, too.
As far as the airstream being constant, while that may be true from the player's perspective, once the reed starts to move because of the airstream, the reed is subject to constantly changing forces from both sides (since pulses of air pressure in the mouthpiece reflected back from the bore also have an effect), and it happens that the forces are periodic (and thus mathematically decomposable into sums of sinusoids). Also the mathematical theory behind linear systems says that as long as we assume the system is linear, we need only figure out what the response of the reed will be to a sinusoid to know what response we'll get with other types of stimuli, so the nature of the player's airstream doesn't really affect the analysis. In fact, if you solve the equation on paper, you can change the input stimulus to anything you want and still get the same result.
Now as I said, the reed/mouthpiece system is not really linear (neither is an airplane wing--they are both quite non-linear in operation), but a linear model will quite often give you a reasonably good qualitative picture of how a physical system like this will operate (especially if the amplitudes are relatively small), and there some good mathematical theory (Taylor's theorem) that explains why this is true. In electronics, which is my primary field of engineering expertise, we routinely use linear models to predict behavior of negative-resistance oscillators (which is what a reed/mouthpiece system is), even though we realize that ultimately the system is non-linear--it's good enough to make it work, though. But that's also why I said that what I gave was a partial answer to the question. Sometimes that's the best we can do, even as engineers--that's why people build prototypes! A lot of engineering analysis design involves figuring out what properties change when you tweak certain parameters and then tweaking them with a prototype or computer simulation to get what you want. Getting an exact analysis on paper almost never happens. It took me a while to figure this out when I was in college, but it was an a-ha moment when I did!
Analyzing a real reed with its complex internal structure and complex shape would be quite difficult to do, and we'd still only be able to approximate what it does, even if using sophisticated software to do it. Ultimately, though, I'll admit that to a certain extent you simply have to take my word for it that this is a decent enough approximation to yield useful results.
You're also right that this won't necessarily be of any benefit to a young student. I just included it here because Norbert asked about it, and, for me anyway, it was more illustrative than a simple reference to another person's statement about it.
|
|
Reply To Message
|
|
Author: Mark Charette
Date: 2008-12-09 14:56
mrn wrote:
...
FYI:
In automotive engineering a simple mass-spring is used in the first (several hundred, usually) FEM analysis runs so that an approximate solution can be derived for further refinement. The 1st approximation is often very close to the final solution (and what is found after manufacturing and testing a prototype).
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2008-12-09 17:28
Norbert,
Sorry, I do not have a reference for my claim that the reed must be able to vibrate faster than the air column in order to control it.
My mental model comes from the behavior of coupled vibrating systems where the operating frequency of the combined system is somewhere BETWEEN the resonant frequencies of the separated elements.
Benade thought of the reed as a valve that closes when the pressure in the player's mouth is higher than the (oscillating) pressure in the mouthpiece. A key result of Benade's "valve" model is that the reed greatly reduces the interaction between the player's throat and chest and the air column in the clarinet.
The coupling between the reed and the air column is reason that one can "lip" pitches into tune. You "bite" the reed, raising its natural frequency, and that drags up the frequency of the note being played.
Remember the old high school physics class where the teacher extends a meter/yard stick over the edge of the lab table? S/he clamps the stick at the edge of the table with one hand, plucks the free end with the other hand to get it vibrating, and uses the 3rd hand to pull the stick back over the table, shortening it. As the amount of stick poking over the edge decreases that its vibration frequency increases.
Returning to the reed analogy, we have the meter stick (I mean reed) hanging over the edge of the (mouthpiece) table. As it wraps and unwraps over the mouthpiece rails, the amount of reed that is moving changes just like the shortening meter stick. So, the reed is far from being a linear system.
The player can alter the range of frequencies contained in the reed's non-linear vibration by changing the amount of lip tension and by moving the lower lip toward or away from the tip of the mouthpiece.
Adding lip pressure, or taking less mouthpiece will raise the reed's natural frequency. We do that to make the notes in the altissimo register speak; and then we spend years learning to avoid doing that --in the interest of tone quality, intonation, responsive articulation.
Consider, too, the complications inherent in this line of thought. The the curvature of the rails, the way the reed tapers (at edges and in the middle), the possibility of the reed twisting (balance that reed for the altissimo), the smoothness with which the lay of the mouthpiece meets the table, the "fixity" of the butt of the reed (mouthpiece table stiffness, ligature), ...
All of these things complicate the way that the player approaches reed control. They allow us to get GAS, to argue over reed brands, to endlessly fiddle with our reeds and to hit the practice room, again.
Bob Phillips
|
|
Reply To Message
|
|
Author: malanr
Date: 2008-12-09 18:57
I'm currently using a 5RV Vandoren mp and vandoren 2.5 strength reeds, and the only problem i have is the clarion and altissimo sounding a bit thin (i'm used to playing on a 3.5 strength reed and another mp, but that was 10 years ago.) I have no problems playing the notes in this register.
I think mostly it will be your embrochure.
IMHO
Just another muscian
|
|
Reply To Message
|
|
Author: Rusty
Date: 2008-12-09 21:14
Hi Huff n`Puff, thanks for comments. I have 3 clarinets. Vito Reso Tone 3 open and a Vito closed hole plateau and a cheapie Artiste brand. All are flat from F top stave line and above.
I have the following MPCs Hite (Prem), Vandoren B45, Leblanc, 2 Vito, & one from the Artist. All give about the same reading. When B is played I get G# plus about 40 cents. My meter checks out OK on piano.
All No 2 reeds , even different makes, (haven`t tried Vand.) make no difference. RR 2.5s and M. Laurie 3 ( which I can`t play properly) brings it up from a G# +40 to a G# +80. I haven`t mentioned but I`m using a shorter barrel. 62 mm instead of 65mm. All readings are worse with the std. longer barrel.
I note looking back at notes I made 18 months ago that the teacher said "flat yes, but forget it , it`s only a couple of notes " So maybe I might have to.
|
|
Reply To Message
|
|
Author: NorbertTheParrot
Date: 2008-12-09 21:44
Sounds to me like you need to get your teacher to try these clarinets and mouthpieces, and work out which, if any, are reasonably in tune with themselves and with the tuner.
Whose idea was it to use a shorter barrel? Sounds like a recipe for disaster to me. Though its effect should be to make the upper clarion relatively sharper than the lower clarion, which seems to be the opposite of what you are finding.
As for your teacher's comment "flat yes, but forget it , it`s only a couple of notes" - well, that rather depends precisely how flat, doesn't it?
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2008-12-10 03:48
Some caution is required in reading the McGill University notes on reed vibration modeling. The "reed valve" is assumed to be "stiffness controlled," and that it has infinite resonant frequency.
That works (except for the non-linear aspects of wrapping around the mouthpiece and flapping on the tip rail, and the torsional vibrations) when the tone produce by the clarinet and the reed's resonance frequency are widely separated.
BUT altissimo A (A6) has a frequency of 1760-Hz, and that's too close to a reed resonance of 2000 Hz to ignore the reed's phase lag.
The reed damping IS something that we haven't considered in this thread until mrn mentioned it. Reed damping will have a dramatic effect on the transient response of the system. AND, reed damping is also affected by embouchure. The influence of damping is usually referenced to the "critical damping" value, which depends upon the reed's natural frequency. For comparison, a nicely tuned screen door closure is set to near critical damping so that it just closes without trying to overshoot the door jamb and bounce off of it.
These McGill citations are (except for the mass supported by the horizontal coil springs) are for single degree-of freedom systems, not for coupled systems.
I wish I had handy the tools needed to build (more importantly to solve) my own math model of the reed/air column. It would be fun and, probably, instructive to work on this problem.
Meantime, I do have a decent horn, mouthpiece and some reeds that work. I'm getting up from the computer and trying to make those A6s in the Rossini Introduction sound sweeet.
Bob Phillips
|
|
Reply To Message
|
|
The Clarinet Pages
|
|