Author: spikey1973
Date: 2023-07-28 01:40
I am not sure if I am the one to comment on this thread as newby but I will just put my 5 cents in just as well. (I basically repeat lot of whats already been said in my won words)
1) for tonal production there is no 'need' for an airflow. It is the column of air in the instrument (down to the the bottom of your lungs) that vibrates.
2) to get this vibration 'started/changing' you do need airflow 'through' the reed/MP opening. As I noticed this needs to be focused and a fast airflow, to get the reed to respond, more then the need for volume.
3) response of the reed is dependend on your 'setup' (MP, Reed, Ligature) as well your 'approach' and also your physic. The whole is important, each bit influences the whole.
4) once 'responding', a minimal of air flow is needed to keep the reed vibrating in the same frequency. similarly but also different, as when playing the didge (as mentioned before), the entire vibrating air column will sustain the vibrating of, in our case the reed. One only really needs to supply the energy that is lost in the system as well what is needed to facilitate alterations in the vibration when needed.
5) to me it feels that, when one needs to put in more energy then essentially necessairy for the required volume,that this points to a less efficient system. So your setup, as that is all you can really effectively change, at least in short term.
Personally I like to notice the vibration of the air column in the instrument under your fingers when you have closed a tonehole with just the lightests of touches. the feeling of this vibration seems to 'disappear', basically become less noticeble, with more 'pressure' and is more prominently noticeble with lower frequencies. But when you feel this, one can also notice the 'absences' of an airflow.
as connotation I must say, that the actual flow here would be that small anyway, that I would doubt that one would actually be able to sense it.
kind greats, Matt
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The Clarinet BBoard
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