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Author: Simon Aldrich
Date: 2018-02-06 02:02
Seabreeze, to make my response to Ray comprehensible, I focussed on one clearly-defined notion: the H-frame and its role in the French sound. I left out the many, many exceptions to the rule, as it often muddies the waters when explaining this notion to someone with little knowledge of mpcs.
"In French pieces, the A chamber--when it is used--is more restricted in size."
Indeed. One feels at times that the French-style mpc-maker is only hinting at an A-frame (eg. Richard Hawkins).
You mention Kuckmeier. When I want to demonstrate to students the nub of what I am describing in my response to Ray (that being the increased resistance in a H-frame), particularly when the student declares they like more closed mouthpieces because they are easier to play, I have them play on two Kuckmeier Playeasys (a B2 and a B3). The student always chooses the B3 as less resistant and easier to play. I then measure the tip opening of the two mpcs and show the student: +/- 1.02 mm for the B2 and +/- 1.19 for the B3. The much-more-open B3 is easier to blow. I then show them the H-frame in the B2 and the A-frame in the B3. Of course, there are many other factors in a mpc's facing and interior, but the effect of an A-frame can be quite unexpected to a French-mpc player.
What also has to be explained is the "ahh" voicing which creeps into an A-frame. As Brad Behn writes on his site:
"The concept of A-framing a throat is to combine tonal concentration with freedom and flexibility. H-frame throats, depending on width, allow one to concentrate on a specific playing attribute. For example, wider throats will predominantly make for a free, flexible, and broadened tone ("Ahh" vowel sound), whereas narrower throats will add working resistance, require softer reeds, add stability, and produce a narrower tone ("Eee" vowel sound)."
Simon
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Re: The German Mouthpiece Experience new |
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Simon Aldrich |
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The Clarinet BBoard
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