點解吹高音會變 flat..

吹高音 go 時會變好 flat (第2高F# 和以上)

dim sin 吹可以 sharp D lae?

咩野係double and triple tongueing ar?

點吹D音先會好聽D 大聲得又唔會flat

更新:

指既係黑管clarinet

(最重要既事冇講 = =)

更新 2:

*********第3高F# 和以上

1 個解答

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  • 1 十年前
    最愛解答

    請看以下一段有關影響吹奏單簧管sharp和flat 的因素

    •Pulling barrel (then middle joint)=flatter, pushing in=sharper

    •Barrel length: Shorter and longer barrels are available

    •Range: Throat tones are sharp on almost every instrument, especially the A and B-flat. Altissimo register=sharp in more

    experienced players, though young players will often be a little flat when learning these notes.

    •Embouchure: biting or pinching=sharp, loose=flat

    •Temperature: cold=flat, hot=sharp

    •Dynamic level: loud=flat, soft=sharp

    •Reed strength: soft reed=flat, hard reed=sharp

    •Angle of entry: held too far out=flat, held too close=sharp

    •Lay of the mouthpiece: closed=sharp, open=flat

    圖片參考:http://www.music.vt.edu/musicdictionary/textc/imag...

    Double and Triple Tonguing

    The technique of double or triple tonguing, commonly used for very rapid articulations on flute and brass instruments, is used effectively on the clarinet by only a few professional-level players. It is not considered an essential standard technique for clarinet. It is most useful in the throat and chalumeau registers for rapid repeated notes of the same pitch. It is used less frequently in the clarion register and almost never in the high register. The development of a good double and triple tonguing on the clarinet requires considerable persistence and should be studied only by advanced players who have mastered the standard staccato articulation.

    1. Double tonguing is executed by rapid movements of the tongue, as in pronouncing the syllables “tu-ku.” The “tu” is articulated in the usual fashion on the reed, while the “ku” is produced by the tongue against the palate to stop the flow of air. The problem in developing a useful double tonguing technique is in matching the attack and tone qualities of the two syllables.

    Practice slowly, first on throat tones and notes in the upper chalumeau register. Breath support must be firm. Avoid any movement of the jaw and any changes in the embouchure. Increase the speed of the repeated notes gradually, making sure that the attacks of all notes match.

    2. Triple tonguing is done with the same syllables as those used in double tonguing, either “tu-ku-tu” or “tu-tu-ku.”

    Unfortunately, the standard literature for clarinet does not include any specific material for the development of double or triple tonguing. Clarinetists who are developing this technique can adapt material from that written for flute.

    More about double tonguing:

    http://idrs.colorado.edu/Publications/DR/DR11.3/DR...

    Video:

    http://www.philharmonia.co.uk/thesoundexchange/the...

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