 The Clarinet BBoard
|
Author: ~jerry
Date: 2001-07-08 16:58
I order to maximize the efficiency of the function of the reed/mouthpiece (for lack of the correct terminology), is the breath (wind) not suppose to straight into the mouthpiece (as apposed to *down* across the tip)?
I know, I know, this is getting too technical for a beginner and has not much to do with learning how to play. However, I just have one of those minds that seems to learn better by understanding (at least some basics) what I am doing. For example, If my previous statement is correct, then I know that I must align my tongue (really the path of the air) so that is parallel to the direction of the mouthpiece.
In my recent visit (on the fourth) to the Dallas Wind Symphony concert, I paid particular attention (this time - now that I'm learning to play) to the clarinetists. Their posture included (almost to the man/woman) sitting with their legs either under the seat (crossed) or streched out in front (crossed), with clarinet bell resting on their legs/lap.
Since I've been having a problem with the horn "rotating" slightly when I play, for example an open "G", I of course had come home and experiment with the "lap" thing. Okay, fine. this stops the rotation but causes me to hold the horn lower and consequently develop squeaks. If I tilt my head down to try and align my tongue/air channel (see above), my head is tilted too far and (via my tri-focals) I am unable to reed the music clearly.
Sounds like I am describing what happens when you eat an oyster -- the more you chew it the bigger it gets. BTW - did you here about the guy who was asked how it was, after he had eaten his first bannana? "Once you peel it and throw away the cob, there's not much to it."
I hate jokes, don't you?
Any oppinions on the foregoing -- not the bannana?
~ jerry
Still in Clarinet Boot Camp
|
|
Reply To Message
|
|
Author: Don Berger
Date: 2001-07-08 17:53
Jerry, you bring up a number of valid questions re: cl playing, I suspect most of us solve by the good, old cut-and-try method. Re: glasses [first] I may have influenced several good friends to buy "music-playing" glasses [mine are a focus of about 6-10 feet] so as to reasonably see both the music and conductor without bi -tri-continuing-focus head movement problems. It sure helps me. Re: air-stream direction [2nd], several of our "good books", Brymer, Stein, Gibson? etc speak to this, my thot is that air is "so manuverable" and responsive that its minor, BUT read up what the experts say. Other?'s ?? Will be interested further. Don
|
|
Reply To Message
|
|
Author: Don Poulsen
Date: 2001-07-09 14:02
Regarding your breath, if I understand your question correctly, it <i>is</i> supposed to flow between the reed and and the mouthpiece tip as opposed to across it as with a flute. I can go a lot more deeply into the physics of how it works if you like, but I will leave any instruction as to create the best air stream to those with more instructional experience.
And as far as seeing the music, I only have bifocals, but suggest adjusting the distance, height and tilt of your music stand until you find where you can best see the music.
|
|
Reply To Message
|
|
Author: jerry
Date: 2001-07-09 17:32
Thanks, Don(s).
No. Not interested in the physics behind *why* the reed vibrates, only the direction of airflow. Again, my interpretation is that the reed will not vibrate properly if the airflow is not directed straight into the end of the reed/mouthpiece - airflow relatively parallel with the reed. As opposed to the airflow hitting the reed/mouthpiece from above at an angle of say >4deg. to 5deg. from the plane of the reed's face.
I know that when I was a kid, we used to play (make a lot of loud noise that irritated mom) a blade of grass between the fingers and we had to blow straight onto the edge of the blade of grass in order to get a sound. The same happens when blowing onto the edge of a piece of paper stretched between the fingers of each hand.
I've been re-reading Stein and Pino and cannot find where they discuss this in particular.
I realize all of this may be asking for more information than I need but I am trying to develop an acceptable posture to keep from squeaking.
Thanks.
~ jerry
|
|
Reply To Message
|
|
Author: Don Poulsen
Date: 2001-07-10 13:34
Yes, the airflow should be parallel with the reed. The reed is <i>not</i> made to vibrate by pushing on it with air and causing it to deflect <i>away</i> from the mouthpiece, but by the Bernoulli effect, which basically says that the moving air on one side of the reed decreases the air pressure on that side, causing it do deflect <i>toward</i> the mouthpiece.
|
|
Reply To Message
|
|
Author: Gordon (NZ)
Date: 2001-07-12 13:36
Intuitively I would say that the airspeed between reed and mouthpiece (which IS relevant) is so very much greater than the airspeed within the mouth that the latter would be irrelevant, no matter what direction it was in. The aiur in the mouth is only slowly 'drifiting' towards the reed.
What seems to me as POSSIBLY relevant is whether or not the air in the mouth is turbulent. If there is a constriction between the tongue and the soft palate turbulence could be induced. Apart from having a possible effect on the modes of vibration of the reed it could also reduce air pressure, resulting in a weak, unsupported tone.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
