Clarinet's Acoustical Features
The Clarinet’s Acoustical Properties
The journey of clarinet sound production starts with the mouthpiece and the reed. While the mouthpiece itself is not closed, the vibration of the reed against it causes the mouthpiece to act acoustically as a closed pipe. The reed first sparks a pressure oscillation that is strongest at the mouthpiece, overall causing the first pressure antinode. While it is impossible to have the “perfect reed,” the mission is to have a reed that has the most freedom of vibration, giving the performer the most liberty and flexibility as possible, by and large maximizing the strength of the overtones in the air column.
One of the most distinctive features of the clarinet acoustics is the overblown 12th. Instead of the clarinet …show more content…
The brilliant sparkly tone and light technique is certainly present, carrying over into both the classic tradition and the jazz style. Daniel Bonade (b. 1896 in Geneva, Switzerland – d. 1976 in Cannes, France): While not necessarily considered “American,” Bonade taught countless notable clarinetists during his time stateside, and is considered the father of the American School. Teaching at Curtis, Cleveland, and Julliard, Bonade taught successful clarinetists such as Mcginnis, Gigliotti, Marcellus, Lurie, Weber, and Brody, to name a few. While his playing career was cut tragically short by a heart attack, his pedagogical contributions were enormous. Stanley Hasty (b. 1920 - d. 2011 in Rochester, NY, USA): Known as one of the most esteemed scholars of the clarinet world, Hasty taught numerous successful students during his professorships at Peabody, Indiana, Carnegie Institute, New England Conservatory, and Julliard. Notable students include Combs, Huskell, Mandat, Mead, Osborn, and …show more content…
1953 in New York City, NY, USA): Neidich is a fantastic example of the modern American style. His recordings bring new life to standards such as Mozart, Weber, and Schumann; as well as demonstrate premieres of modern works by composers such as Babbitt and Schuman. Richard Stolztman (b. 1942 in Omaha, NE, USA): Stolztman takes the standard American style and applies it to not only classical literature, but modern and jazz as well. His albums such as New York Counterpoint demonstrate his masterful interpretations. Performing with over 100 orchestras, in addition numerous solo recitals, Stolztman exemplifies what it means to be a true American
The journey of clarinet sound production starts with the mouthpiece and the reed. While the mouthpiece itself is not closed, the vibration of the reed against it causes the mouthpiece to act acoustically as a closed pipe. The reed first sparks a pressure oscillation that is strongest at the mouthpiece, overall causing the first pressure antinode. While it is impossible to have the “perfect reed,” the mission is to have a reed that has the most freedom of vibration, giving the performer the most liberty and flexibility as possible, by and large maximizing the strength of the overtones in the air column.
One of the most distinctive features of the clarinet acoustics is the overblown 12th. Instead of the clarinet …show more content…
The brilliant sparkly tone and light technique is certainly present, carrying over into both the classic tradition and the jazz style. Daniel Bonade (b. 1896 in Geneva, Switzerland – d. 1976 in Cannes, France): While not necessarily considered “American,” Bonade taught countless notable clarinetists during his time stateside, and is considered the father of the American School. Teaching at Curtis, Cleveland, and Julliard, Bonade taught successful clarinetists such as Mcginnis, Gigliotti, Marcellus, Lurie, Weber, and Brody, to name a few. While his playing career was cut tragically short by a heart attack, his pedagogical contributions were enormous. Stanley Hasty (b. 1920 - d. 2011 in Rochester, NY, USA): Known as one of the most esteemed scholars of the clarinet world, Hasty taught numerous successful students during his professorships at Peabody, Indiana, Carnegie Institute, New England Conservatory, and Julliard. Notable students include Combs, Huskell, Mandat, Mead, Osborn, and …show more content…
1953 in New York City, NY, USA): Neidich is a fantastic example of the modern American style. His recordings bring new life to standards such as Mozart, Weber, and Schumann; as well as demonstrate premieres of modern works by composers such as Babbitt and Schuman. Richard Stolztman (b. 1942 in Omaha, NE, USA): Stolztman takes the standard American style and applies it to not only classical literature, but modern and jazz as well. His albums such as New York Counterpoint demonstrate his masterful interpretations. Performing with over 100 orchestras, in addition numerous solo recitals, Stolztman exemplifies what it means to be a true American