Re: High notes
- Subject: Re: High notes
- From: "Vern Smith" <jevern@xxxxxxx>
- Date: Fri, 10 Jan 2003 10:55:18 -0800
- ----- Original Message -----
From: "Rupert Oysler" <orupert@xxxxxxxxxxx>
> The high notes on the CX-12 can be tricky not only because of
> gapping/set-up. I think it has a lot do with embouchure, air direction,
I posit that air direction has nothing to do with making high reeds sound.
On draw notes, the player has no way to control the direction of air
approaching the reed from outside the reedplates.
Even on blow notes, there is little the player can do to control direction.
Because the blow-reed rivets are near the mouthpiece, the place where the
air acts on the reed is at the far end of the chamber and any uneven
velocity distribution applied by the player has plenty of distance in which
to dissipate. Then, the air flow must make a 90 degree turn to pass through
the reed slot. At the very low pressure ratios found in the harp (approx
1.01), the pressures/forces acting on the reed in and out of a jet of air
are not very different.
At these high frequencies, the wavelengths become short enough for the
embouchure+chamber to have resonant air columns. Therefore embouchure can
At high pitches, the reed is very short & stiff and the amplitude of
vibration and the gap are very small. Gapping is critical. The range of
just-right gap is also very small...a bit too little and the reed chokes, a
bit too much and it doesn't start.
IMO the "attack" (the pressure applied as a function of time.) can have an
However, I just picked up my Farrell/Hohner 270 & CX12 and was unable to
make any high notes fail by deliberately applying unusual embouchures and
attacks. I think that this brings us back to gapping! Embouchure and
attack can coax a marginally gapped reed to sound but if the gap is correct,
these effects are much less important.
Disclaimer: The above are my opinions based on my analysis and are offered
for your consideration. I don't claim to have the last word on high reeds.
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