Author: Dan Shusta
Date: 2020-02-25 11:28
BaconLord,
You mentioned that you admired the sound of Ricardo Morales. You also mentioned how "centered his sound was with a nice balance of overtones (maybe sliding towards the more brighter side). Doesn’t sound spread at all."
IMO, you actually answered your own question as to what you should look for in your own sound..."centered with a nice balance of overtones".
There have been many discussions on this BB as to the importance of upper partial overtones or harmonics. It's the upper partials that actually carry the tone for a long distance and will also give you the "power" to "stand out and be heard" in an orchestra. That's what the "brighter side" that you heard is all about.
To me, centered means the "H" frame in the mouthpiece is precisely the exact, spaced, dimension it should be. Any narrower and the tone sounds thin...any wider and the tone begins to sound slightly washed out.
As to the upper partials, this, again, IMO, has specific reference to how the baffle is formed. Too deep and the sound can be very dark and "muddy". Too shallow and the brightness of the sound can negate the depth that is so necessary.
Now as to the reed, this is where I believe Karl is very close in its importance. Yes, it must be balanced. However, different reed thicknesses, strength levels, and the different cuts involved will, IMO, definitely affect the necessary upper partial harmonic content that is so necessary. I believe the right matching reed, correctly balanced, will, indeed, yield the radiant sound of fluidity which is necessary for a truly "centered and focused" sound.
Arnoldstand, first, I believe, we would have to have an agreed upon definition as to what is an "open" mouthpiece. If the mouthpiece is 1.15 and above, I believe the sound will indeed be louder, have a "sense" of being broader probably due to the intensity of the sound level, and, again, depending upon the throat design, be focused. Now remember, large tip openings coupled with medium to short facings, usually require a soft reed. From my readings, softer reeds have greater difficulty with creating the necessary upper partial harmonic content because the softness of the reed has a more difficult (if not impossible) time producing this harmonic content. This is why soft reeds (2 to 2.5) with a medium facing length, rarely work in the altissimo range. Their inherent, internal vibrating frequency is too low. Increasing the reed strength means using a harder reed which has a higher internal vibrating frequency making altissimo range notes more accessible.
My usual disclaimer...all of the above are just my opinions...
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