 The Clarinet BBoard
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Author: Caleb
Date: 2009-10-08 15:16
I find this term in "the art of clarinet playing" by Keith Stein, p.34.
In the book, Keith Stein wrote: ‘tonal edge- a particular spot within the sound, when located, responds with a lively, reedy and buzzing vibration. This particular location is so responsive that the width and violence of vibration are similar to those far out on the rim of a fine quality cymbal...Keep in mind that this readiness (of which the player is keenly aware) is not audible to the audience.’
I have no idea about the meaning of this passage. “Particular location” means the location of tongue, breath or a point on the reed or in the sound? Why the audience can’t hear the ‘tonal edge’?
Thx.
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Author: Paul Aviles
Date: 2009-10-08 16:13
He is talking about desirable overtones, overtones that help carry your sound to the back of the hall even at very VERY soft volumes. At any appreciable distance you don't really hear them (the listener that is, NOT the performer). How many times have you sat next to someone that sounded almost grainy but once you hear them from the perspective of the audience you can't believe what a wonderful sound they have?
By spot, I am sure he refers to whatever voicing, reed, mouthpiece combo you have to field to achieve it. Once you achieve it, THAT'S the spot.
...............Paul Aviles
P.S. Keith Stein's book is the "theoretical" bible for clarinetists
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Author: stevensfo
Date: 2009-10-08 16:17
It seems like a long and roundabout way of saying "when you have a really good reed and MP combination that responds exactly how you want it."
-- "Keep in mind that this readiness (of which the player is keenly aware) is not audible to the audience." --
As for the audience, most of them are thinking about what they're having for dinner that night or when they last serviced the car.
The day I change my mind is when we see on Youtube examples of music where the audience is asked:
1. Which clarinet sounds better?
2. Did you notice a difference between the ligatures?
3. Which clarinet sounded 'blown out'?
;-)
Steve
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Author: Grabnerwg
Date: 2009-10-08 16:43
As a mouthpiece designer, I am going to agree with this statement. To get the projection you need for a good symphonic mouthpiece, you have to allow for some "edge" in the tone. Without it, you may achieve a very pretty tone quality which, however, will not be able to be heard through the orchestra.
Having some "edge" on the tone was in the design criteria for the mouthpiece I co developed with Lawrie Bloom, whom I greatly respect. We went through at least three different blanks and untold variations of facing until we had the tone and projection that he required.
Walter Grabner
www.clarinetxpress.com
Hand crafted mouthpieces
1193 Bass Clarinets
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Author: Liquorice
Date: 2009-10-08 17:28
I think I know what Stein is talking about. But it's very difficult to describe sound in words, and I don't think he's giving the clearest possible description. A far better description would of course be an audible demonstration of that sound.
I wonder why he says that it's not audible to the audience? Does he mean that it's only audible to the player? Or is it something only felt by the player? It seems that Mr Stein was really struggling with his description here!
Post Edited (2009-10-08 17:32)
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Author: Ed Palanker
Date: 2009-10-08 17:47
The great Daniel Bonade said, I don't play for the second clarinet player, I play for the conductor and the audience. That may not be an exact quote but you get the idea. ESP http://eddiesclarinet.com
PS. By the way Steve, when I have my students try out ligatures I can hear a difference. Perhaps not in a big concert hall cutting through an orchestra but I can in my studio. If a player feels better about their equipment they will likely sound better to everyone. Everything counts a little, together they make a lot.
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Author: Mark Charette ★2017
Date: 2009-10-08 18:07
Caleb wrote:
> In the book, Keith Stein wrote: ‘tonal edge- a particular
> spot within the sound, when located, responds with a lively,
> reedy and buzzing vibration. This particular location is so
> responsive that the width and violence of vibration are similar
> to those far out on the rim of a fine quality cymbal...Keep in
> mind that this readiness (of which the player is keenly aware)
> is not audible to the audience.’
Reminds me of finding the sweet spot when tuning a super-regenerative radio ... too much gain is chaos, not enough sounds dull and isn't quite locked in, just right is an almost perfectly amplified signal, with just a hint of noise. Cuts through everything around it when you're trying to pull in a weak signal.
Might be some similarity in fact, too.
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