這禮拜沒空翻,先把正確版本原文放上來.
Reed: (revised)
______ That's a reed, if you believe me.
/######\
L /## ##\ R The importance of a reed for clarinet (and
|# #| (saxophone) is obvious. So I put a beautiful
| | figure for the object under discussion here.
| |
| HH | The ### part is called the "tip". The part
which
| HH | looks like a smiling lip is the "root", the part
| HHHH | marked with "H" is the "heart".
| HHHH |
| HHHH | When we play a clarinet, it is the vibration of
|\ HHHH /| the reed which produces the sound, not the air
| \____/ | which goes out from our lung. You can vibrate a
|--------| reed fast by some machine (or your finger, if
you
| | are a superman) and produce some sound from the
| | clarinet without blowing any air into it.
| |
| | When we play a clarinet, the reed is
vibrating
| | with very complex pattern. The vibration of a
| | clrcular drumhead is complex enough, but, if you
look at the shape of a reed, it is easy to
understand that a calculation of the vibration
of a reed is much worse than that.
A qualitative description of the vibration of the reed is the
following:
The root of the reed is, to a "good" approximation, fixed and not
vibrating. The tip is the part that is vibrating.
At low register, the tip of the reed is vibrating as a whole, i.e.,
you can imagine the root being fixed and the rest is vibrating
uniformly.
It is similar to the vibration of a plastic
ruler when you fix one end on the edge of a table and let the rest
part vibrates up-down.
At high register, the tip of the reed is vibrating with L-R-L-R-....
pattern, i.e., when the L-side of the tip is up, the R-side of the tip
is down, vise versa. This is (I guess) close to the following:
center line between the "L" and "R" sign in the figure is "fixed".
As a result, a reed with thinner "#" part is considered as "good"
because it is easier to vibrate in high register. Also the heart has
to be thick because you don't want a lot of noise from the reed when you
play the low register.
Dan Bonade (he was the teacher of R. Macellus and Gigliotti)
said that he likes left-right unbalanced reeds better. Because we use
the right hand (right thumb) to handle the clarinet,
hence, we bite more on the left side of a reed. I don't really
believe it, though, for the shapes of our mouths really differ from one
another. But his observation told us the left-right symmetry is
nonexistence when talking about human body and music performance.
Talking about the calculation on the vibration of the reed..... The
observation of the vibration of the reeds in low and high register was
made by James Pyne of the Ohio state Univ. I could not find a
theoretical
calculation on that, usually people treated the reed as a damped
oscillator, ignore the details of the structure in the early days.
Hsuan-Yi Chen
p.s. I do use "thick" and "thin" when describing a part of a reed.
However, I don't use those terms for the strength of a reed.
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