Timbre - Versionsgeschichte

Heinrich: /* Historical Sources */

2021-05-01T19:55:34Z

Historical Sources

← Nächstältere Version		Version vom 1. Mai 2021, 21:55 Uhr
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	\| lang = fr		\| lang = fr
	\| ref = <ref>Berlioz, H., & Berlioz, H. (1970). Traité d'instrumentation et d'orchestration: [1843] : [op. 10] : nouvelle édition suivie de ; "L'art du chef d'orchestre" : [1856]. Westmead: Gregg Internat. Publ.		\| ref = <ref>Berlioz, H., & Berlioz, H. (1970). Traité d'instrumentation et d'orchestration: [1843] : [op. 10] : nouvelle édition suivie de ; "L'art du chef d'orchestre" : [1856]. Westmead: Gregg Internat. Publ.
	p.157 [https://ks4.imslp.net/files/imglnks/usimg/8/89/IMSLP88917-PMLP28373-Traite1843ed1c.pdf imslp~~, eingesehn am 07~~. 11. 2020]</ref>		p.157 [https://ks4.imslp.net/files/imglnks/usimg/8/89/IMSLP88917-PMLP28373-Traite1843ed1c.pdf imslp. Retrieved November 11, 2020]</ref>
	}}		}}
	For a further source on timbre, see:		For a further source on timbre, see:

Heinrich: /* Historical Sources */

2021-05-01T19:53:39Z

Historical Sources

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	'''[https://www.mgg-online.com/article?id=mgg10931&v=1.0&rs=id-e577f19e-1b78-1083-3fe6-74d77d8b898d Valentin Roeser]'''		'''[https://www.mgg-online.com/article?id=mgg10931&v=1.0&rs=id-e577f19e-1b78-1083-3fe6-74d77d8b898d Valentin Roeser]'''
	<br>		<br>
	This is the earliest source. Roeser (1764)<ref name="Roeser">Roeser, Valentin. Essai d’instruction pour ceux qui composent pour le cor et pour la clarinette. Paris 1764 p.3,4 [https://imslp.org/wiki/Essai_d%27instruction_à_l%27usage_de_ceux_qui_composent_pour_la_clarinette_et_le_cor_(Roeser%2C_Valentin)] ~~{19~~.November 2020}</ref> already points out the different timbres that result according to the different tunings of the clarinets. He recommends using the honed clarinet in E and F only for "noisy pieces"; in the scale of the larger clarinets, the clarinet in G (alto position), has the softest timbre.		This is the earliest source. Roeser (1764)<ref name="Roeser">Roeser, Valentin. Essai d’instruction pour ceux qui composent pour le cor et pour la clarinette. Paris 1764 p.3,4 [https://imslp.org/wiki/Essai_d%27instruction_à_l%27usage_de_ceux_qui_composent_pour_la_clarinette_et_le_cor_(Roeser%2C_Valentin)]. Retrieved November 19, 2020}</ref> already points out the different timbres that result according to the different tunings of the clarinets. He recommends using the honed clarinet in E and F only for "noisy pieces"; in the scale of the larger clarinets, the clarinet in G (alto position), has the softest timbre.
	{{Zitat		{{Zitat
	\| Text = Celles en E, si, mi et en F, ut, fa sont très aigues et l'on ne s'en sert dans L'orchestre que pour les pièces à grand bruit. Celles en G, re, sol est la plus douce espèce, mais on en trouve rarement, parce qu'elle n'est pas absolument nécessaire, attendu, que pour jouer en G, re, sol, on peut s'en servir d'autres, comme nous le verrons par la suite.		\| Text = Celles en E, si, mi et en F, ut, fa sont très aigues et l'on ne s'en sert dans L'orchestre que pour les pièces à grand bruit. Celles en G, re, sol est la plus douce espèce, mais on en trouve rarement, parce qu'elle n'est pas absolument nécessaire, attendu, que pour jouer en G, re, sol, on peut s'en servir d'autres, comme nous le verrons par la suite.

Heinrich: /* Historical Sources */

2021-05-01T19:52:25Z

Historical Sources

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	}}		}}
	For a further source on timbre, see:		For a further source on timbre, see:
	[[Joseph Fröhlich#§ 1 Werth des Instrumentes\|'''Joseph Fröhlich (1822)''']]<ref>Fröhlich, Franz Joseph. 1811. Vollständige theoretisch-pracktische Musikschule für alle beym Orchester gebräuchliche wichtigere Instrumente. [https://imslp.org/wiki/Vollständige_theoretisch-_pracktische_Musikschule_(Fröhlich%2C_Franz_Joseph) IIte Abteilung, S.7, §1] ~~{25~~. November 2020}</ref>		[[Joseph Fröhlich#§ 1 Werth des Instrumentes\|'''Joseph Fröhlich (1822)''']]<ref>Fröhlich, Franz Joseph. 1811. Vollständige theoretisch-pracktische Musikschule für alle beym Orchester gebräuchliche wichtigere Instrumente. [https://imslp.org/wiki/Vollständige_theoretisch-_pracktische_Musikschule_(Fröhlich%2C_Franz_Joseph) IIte Abteilung, S.7, §1]. Retrieved November 15, 2020}</ref>

			[[Kategorie:Fundamentals, English]]

	=Didactics of Timbre, Contributions by Interviewees=		=Didactics of Timbre, Contributions by Interviewees=

Heinrich: /* Vowels and Formants */

2021-05-01T19:51:09Z

Vowels and Formants

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	See also [[Voicing and Singing]]		See also [[Voicing and Singing]]
	<br>		<br>
	The Wikipedia article<ref>[https://https://en.wikipedia.org/wiki/Formant Formants] ~~{{11~~.17.2020</ref> defines formants as "the broad spectral maximum that results from an acoustic resonance of the human vocal tract." The Online Lexikon<ref>[https://www.spektrum.de/lexikon/physik/formant/5219 Spektrum.de] paraphrases the term as "the area in the sound spectrum in which sound energy is concentrated, regardless of pitch." And further: "In the sound of musical instruments, formants form a vowel-like timbre typical of the instrument."		The Wikipedia article<ref>[https://https://en.wikipedia.org/wiki/Formant Formants]. Retrieved November 17, 2020</ref> defines formants as "the broad spectral maximum that results from an acoustic resonance of the human vocal tract." The Online Lexikon<ref>[https://www.spektrum.de/lexikon/physik/formant/5219 Spektrum.de] paraphrases the term as "the area in the sound spectrum in which sound energy is concentrated, regardless of pitch." And further: "In the sound of musical instruments, formants form a vowel-like timbre typical of the instrument."
	The dictionary [https://www.britannica.com/science/phonetics/Vowel-formants Britannica] defenses: "The resonant frequencies of the vocal tract are known as the formants."		The dictionary [https://www.britannica.com/science/phonetics/Vowel-formants Britannica] defenses: "The resonant frequencies of the vocal tract are known as the formants."
	<br>		<br>
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	====Resonance Fingerings====		====Resonance Fingerings====
	If the musical context permits, [Milan Rericha#Alternativgriffe\|Milan Rericha]] and [[Harri Mäki#Finding the best resonance fingering\|Harri Mäki]] play the "short" notes [[Harri Mäki#Finding the best resonance fingerings\|short notes (g1 bis b1)]] with resonance fingerings. In this way, in combination with suitable voicing, the overtones can be amplified, resulting in a more powerful timbre.		If the musical context permits, [Milan Rericha#Alternativgriffe\|Milan Rericha]] and [[Harri Mäki#Finding the best resonance fingering\|Harri Mäki]] play the "short" notes [[Harri Mäki#Finding the best resonance fingerings\|short notes (g1 bis b1)]] with resonance fingerings. In this way, in combination with suitable voicing, the overtones can be amplified, resulting in a more powerful timbre.

			[[Kategorie:Fundamentals, English]]

	===General posture===		===General posture===
	[[Michel Westphal#La base de la sonorité : une bonne posture\|Michel Westphal]] as well as [[Heinrich Mätzener#Allgemeine Körperhaltung und Luftführung\|Heinrich Mätzener]] attach great importance to an upright, relaxed posture. The mouthpiece must be brought to the embouchure, the head should never lean forward towards the mouthpiece. Heinrich Mätzener et al. showed in a study supported by [http://www.dissonance.ch/de/archiv/hauptartikel/360/abstract/de SNF Studie] (Lucerne, 2013) that sound production combined with beneficial sound qualities can be defined as a body-raising action.		[[Michel Westphal#La base de la sonorité : une bonne posture\|Michel Westphal]] as well as [[Heinrich Mätzener#Allgemeine Körperhaltung und Luftführung\|Heinrich Mätzener]] attach great importance to an upright, relaxed posture. The mouthpiece must be brought to the embouchure, the head should never lean forward towards the mouthpiece. Heinrich Mätzener et al. showed in a study supported by [http://www.dissonance.ch/de/archiv/hauptartikel/360/abstract/de SNF Studie] (Lucerne, 2013) that sound production combined with beneficial sound qualities can be defined as a body-raising action.

Heinrich am 1. Mai 2021 um 19:50 Uhr

2021-05-01T19:50:16Z

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	\| lang = dt		\| lang = dt
	\| ref = <ref>Schubart, Ludwig. Ideen zu einer Ästhetik der Tonkunst		\| ref = <ref>Schubart, Ludwig. Ideen zu einer Ästhetik der Tonkunst
	1806, S.320. [https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10599461_00338.html Bayerische Staatsbibliothek digital~~, eingesehen am 15~~. 11. 2020]</ref>		1806, S.320. [https://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10599461_00338.html Bayerische Staatsbibliothek digital. Retrieved November 11, 2020]</ref>
	}}		}}
	[https://de.wikipedia.org/wiki/Felix_Mendelssohn_Bartholdy '''Felix Mendelssohn''']		[https://de.wikipedia.org/wiki/Felix_Mendelssohn_Bartholdy '''Felix Mendelssohn''']
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	\| Quelle = Vollständige Clarinett-Schule (1861)		\| Quelle = Vollständige Clarinett-Schule (1861)
	\| lang = dt		\| lang = dt
	\| ref = <ref name="Carl Baermann">Carl Baermann: ''Vollständige Clarinett-Schule: von dem ersten Anfang bis zur höchsten Ausbildung des Virtuosen; in 2 Theilen und 4 Abtheilungen verfasst; [1,1]''. Johann André, Offenbach a/M 1861. Bayerische Staatsbibliothek, S 33.[http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10497275_00040.html Bayerische Staatsbibliothek digital, ~~eingesehen am 15. 11.~~ 2020]</ref>		\| ref = <ref name="Carl Baermann">Carl Baermann: ''Vollständige Clarinett-Schule: von dem ersten Anfang bis zur höchsten Ausbildung des Virtuosen; in 2 Theilen und 4 Abtheilungen verfasst; [1,1]''. Johann André, Offenbach a/M 1861. Bayerische Staatsbibliothek, S 33.[http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10497275_00040.html Bayerische Staatsbibliothek digital. Retrieved November 15, 2020]</ref>

Heinrich am 1. Mai 2021 um 19:47 Uhr

2021-05-01T19:47:54Z

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	Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube. Retrieved November 16, 2020</ref>		Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube. Retrieved November 16, 2020</ref>

	~~[[Kategorie:Fundamentals, English]]~~

	==Historical Sources==		==Historical Sources==

Heinrich: /* Sense of Hearing and Sound Samples */

2021-05-01T19:47:08Z

Sense of Hearing and Sound Samples

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	[https://fr.wikipedia.org/wiki/Nicolas_Baldeyrou Nicolas Baldeyrou], (alumnus of Michel Arrignon, who in turn was an alumnus of Ulysse Delécluse) Sound sample 1: [https://www.youtube.com/watch?v=Mdyu4WlPqIA Debussy Rhapsodie, Orchestre Philharmonique de Radio France, Myung-Whun Chung, Nicolas Baldeyrou clarinet (2015)]<ref>YouTube. Retrieved November 16, 2020</ref>		[https://fr.wikipedia.org/wiki/Nicolas_Baldeyrou Nicolas Baldeyrou], (alumnus of Michel Arrignon, who in turn was an alumnus of Ulysse Delécluse) Sound sample 1: [https://www.youtube.com/watch?v=Mdyu4WlPqIA Debussy Rhapsodie, Orchestre Philharmonique de Radio France, Myung-Whun Chung, Nicolas Baldeyrou clarinet (2015)]<ref>YouTube. Retrieved November 16, 2020</ref>
	<br>		<br>
	Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube. ~~Retirved~~ November 16, 2020</ref>		Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube. Retrieved November 16, 2020</ref>

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Sense of Hearing and Sound Samples */

2021-05-01T19:45:54Z

Sense of Hearing and Sound Samples

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	<br><br>		<br><br>
	'''Old French School'''		'''Old French School'''
	[https://en.wikipedia.org/wiki/Prosper_Mimart Prospère Mimart], played with double-lip embouchure. Sound example: [http://www.parkcitycatalog.com/Schubert%20Shepherd%20on%20the%20Rock1%20-%20Mimart.mp3 Schubert, Der Hirt auf dem Felsen (1915?)]<ref>YouTube~~, abgerufen am 24~~. September 2020</ref>.		[https://en.wikipedia.org/wiki/Prosper_Mimart Prospère Mimart], played with double-lip embouchure. Sound example: [http://www.parkcitycatalog.com/Schubert%20Shepherd%20on%20the%20Rock1%20-%20Mimart.mp3 Schubert, Der Hirt auf dem Felsen (1915?)]<ref>YouTube. Retrieved September 24,2020</ref>.
	<br>		<br>
	[https://en.wikipedia.org/wiki/Gaston_Hamelin Gaston Hamelin], [https://www.youtube.com/watch?v=IPZkawG6vZc Debussy, Première Rhapsodie (1933)] <ref>YouTube~~, abgerufen am 24~~. September 2020</ref>		[https://en.wikipedia.org/wiki/Gaston_Hamelin Gaston Hamelin], [https://www.youtube.com/watch?v=IPZkawG6vZc Debussy, Première Rhapsodie (1933)] <ref>YouTube. Retrieved September 24, 2020</ref>
	[https://fr.wikipedia.org/wiki/Auguste_Périer Auguste Perrier]		[https://fr.wikipedia.org/wiki/Auguste_Périer Auguste Perrier]
	pupil of Charles Turban, played with double-lip embouchure. Sound example: [https://www.youtube.com/watch?v=UTdpwvWgLTg Armand Bournonville, Fantasie-impromptu in C-Sharp Minor, Op. Posth. 66 (1928)]<ref>YouTube~~, abgerufen am 16~~. November er 2020</ref>·		pupil of Charles Turban, played with double-lip embouchure. Sound example: [https://www.youtube.com/watch?v=UTdpwvWgLTg Armand Bournonville, Fantasie-impromptu in C-Sharp Minor, Op. Posth. 66 (1928)]<ref>YouTube. Retrieved November 16, 2020</ref>·
	<br>		<br>
	'''French-American School'''		'''French-American School'''
	[Embouchure#Double-lip Embouchure\|Double-lip embouchure]]		[Embouchure#Double-lip Embouchure\|Double-lip embouchure]]
	<br>		<br>
	[https://rharl25.wixsite.com/clarinetcentral Ralf McLane], pupil of Gaston Hamelin, played with double-lip embouchure. Sound example: [https://www.youtube.com/watch?v=4LBasgt-4sY Mozart Clariet Quintett KV 581] (1952)<ref>YouTube~~, {{16th of~~ November 2020}}</ref>		[https://rharl25.wixsite.com/clarinetcentral Ralf McLane], pupil of Gaston Hamelin, played with double-lip embouchure. Sound example: [https://www.youtube.com/watch?v=4LBasgt-4sY Mozart Clariet Quintett KV 581] (1952)<ref>YouTube. Retrieved November 16. 2020</ref>
	<br>		<br>
	'''New French School'''		'''New French School'''
	https://fr.wikipedia.org/wiki/Ulysse_Delécluse Ulysse Delécluse], pupil of Auguste Perrier, changed technique and played with a single embouchure. Sound example: [https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000366187 Carl Maria von Weber, Grand Duo Concertant (1951?)]<ref>Gallica~~, abgerufen am 24~~. September 2020</ref>		https://fr.wikipedia.org/wiki/Ulysse_Delécluse Ulysse Delécluse], pupil of Auguste Perrier, changed technique and played with a single embouchure. Sound example: [https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0000366187 Carl Maria von Weber, Grand Duo Concertant (1951?)]<ref>Gallica. Retrieved September 24, 2020</ref>
	<br>		<br>
	'''French School today'''		'''French School today'''
	[https://fr.wikipedia.org/wiki/Nicolas_Baldeyrou Nicolas Baldeyrou], (alumnus of Michel Arrignon, who in turn was an alumnus of Ulysse Delécluse) Sound sample 1: [https://www.youtube.com/watch?v=Mdyu4WlPqIA Debussy Rhapsodie, Orchestre Philharmonique de Radio France, Myung-Whun Chung, Nicolas Baldeyrou clarinet (2015)]<ref>YouTube~~, abgerufen am 16~~. November er 2020</ref>		[https://fr.wikipedia.org/wiki/Nicolas_Baldeyrou Nicolas Baldeyrou], (alumnus of Michel Arrignon, who in turn was an alumnus of Ulysse Delécluse) Sound sample 1: [https://www.youtube.com/watch?v=Mdyu4WlPqIA Debussy Rhapsodie, Orchestre Philharmonique de Radio France, Myung-Whun Chung, Nicolas Baldeyrou clarinet (2015)]<ref>YouTube. Retrieved November 16, 2020</ref>
	<br>		<br>
	Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube~~, abgerufen am 16~~. November er 2020</ref>		Sound sample 2: [https://www.youtube.com/watch?v=5mnmFRHd4w0 Rachmaninov Vocalise \| Nicolas Baldeyrou on a boxwood clarinet! (2020)]<ref>YouTube. Retirved November 16, 2020</ref>


			[[Kategorie:Fundamentals, English]]

	==Historical Sources==		==Historical Sources==

Heinrich am 1. Mai 2021 um 19:39 Uhr

2021-05-01T19:39:05Z

Änderungen zeigen

Heinrich: /* Historical Sources */

2021-05-01T19:07:11Z

Historical Sources

← Nächstältere Version		Version vom 1. Mai 2021, 21:07 Uhr
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	Control over timbre must be considered as an important aspect of basic technique: Carl Baermann simultaneously demands a malleability of sound: the sound must not be rigid or frozen ("gefroren") in its beauty, but lively and capable of modulation.		Control over timbre must be considered as an important aspect of basic technique: Carl Baermann simultaneously demands a malleability of sound: the sound must not be rigid or frozen ("gefroren") in its beauty, but lively and capable of modulation.
			<br>
	~~Hector Berlioz~~		[https://de.wikipedia.org/wiki/Hector_Berlioz '''Hector Berlioz (1856)''']
			{{Zitat
	~~Carl~~ Hector Berlioz (~~1803 – 1869~~)		\| Text = Les instruments à anche simple tels que les clarinettes et le Cor de basset, constituent une famille dont la parenté avec celle de Hautbois n’est pas aussi rapprochée qu’on pourrait le croire. Ce qui l’en distingue surtout [par] la nature du son. Les clarinettes, en effet, ont dans le medium une voix limpide, plus pleine. Plus pure que celle des instruments à anche double n’est jamais exempt d’une certaine aigreur ou âpreté, plus ou moins dissimulé par le talent des exécutants. Les sons aigues de la dernière octave à partir de l’UT au-dessus des portées, participent seuls un peu un peu de l’aigreur des sons forts du Hautbois, pendant que le caractère des sons les plus graves, se rapproche, par la rudesse des vibrations, de celui de certaines notes du Basson.“
			\| Übersetzung = Single-reed instruments such as clarinets and basset-horns are not as closely related to the oboe family as one might think. What distinguishes it above all is the nature of its sound. Clarinets generally have a clear, fuller voice. More pure than that of double-reed instruments it is never free of a certain bitterness or harshness, more or less hidden by the talent of the performers. Only the high sounds of the last octave from the C above the stave hold a little of the bitterness of the strong sounds of the oboe, while the character of the lower sounds, due to the harshness of the vibrations, is close to that of certain notes of the Bassoon."
	~~„Les~~ instruments à anche simple tels que les clarinettes et le Cor de basset, constituent une famille dont la parenté avec celle de Hautbois n’est pas aussi rapprochée qu’on pourrait le croire. Ce qui l’en distingue surtout [par] la nature du son. Les clarinettes, en effet, ont dans le medium une voix limpide, plus pleine. Plus pure que celle des instruments à anche double n’est jamais exempt d’une certaine aigreur ou âpreté, plus ou moins dissimulé par le talent des exécutants. Les sons aigues de la dernière octave à partir de l’UT au-dessus des portées, participent seuls un peu un peu de l’aigreur des sons forts du Hautbois, pendant que le caractère des sons les plus graves, se rapproche, par la rudesse des vibrations, de celui de certaines notes du Basson.“		\| Autor = Hector Berlioz
			\| Quelle = Traité d'instrumentation et d'orchestration
	"Single-reed instruments such as clarinets and basset-horns are not as closely related to the oboe family as one might think. What distinguishes it above all is the nature of its sound. Clarinets generally have a clear, fuller voice. More pure than that of double-reed instruments it is never free of a certain bitterness or harshness, more or less hidden by the talent of the performers. Only the high sounds of the last octave from the C above the stave hold a little of the bitterness of the strong sounds of the oboe, while the character of the lower sounds, due to the harshness of the vibrations, is close to that of certain notes of the Bassoon."		\| lang = fr
			\| ref = <ref>Berlioz, H., & Berlioz, H. (1970). Traité d'instrumentation et d'orchestration: [1843] : [op. 10] : nouvelle édition suivie de ; "L'art du chef d'orchestre" : [1856]. Westmead: Gregg Internat. Publ.
	~~– Hector~~ Berlioz: Traité d'instrumentation et d'orchestration[15]		p.157 [https://ks4.imslp.net/files/imglnks/usimg/8/89/IMSLP88917-PMLP28373-Traite1843ed1c.pdf imslp, eingesehn am 07. 11. 2020]</ref>
			}}
	For a further source on timbre, see:		For a further source on timbre, see:
	Joseph Fröhlich (1822)[16]		[[Joseph Fröhlich#§ 1 Werth des Instrumentes\|'''Joseph Fröhlich (1822)''']]<ref>Fröhlich, Franz Joseph. 1811. Vollständige theoretisch-pracktische Musikschule für alle beym Orchester gebräuchliche wichtigere Instrumente. [https://imslp.org/wiki/Vollständige_theoretisch-_pracktische_Musikschule_(Fröhlich%2C_Franz_Joseph) IIte Abteilung, S.7, §1] {25. November 2020}</ref>


	Didactics of Timbre, Contributions by Interviewees		=Didactics of Timbre, Contributions by Interviewees=
			==Defining one's own sound verbally==
	Defining one's own sound verbally		[[Sylvie Hue#Raffiner les mouvements, éducer les oreillers\|Sylvie Hue]] considers it one of the most important tasks to teach pupils to listen to themselves. They must learn to critically evaluate their own sound, to describe it, and to form their own aesthetic judgement.
	Sylvie Hue considers it one of the most important tasks to teach pupils to listen to themselves. They must learn to critically evaluate their own sound, to describe it, and to form their own aesthetic judgement.		<br>
	For Frédéric Rapin, sound must always have a clearly definable core. The sound vibrates around this core. This concept promotes presence, color and elegance in the playing and creates the prerequisite for intoning the sound. It is essential to perform the etudes, scales, and chord studies with the best possible sound quality, i.e. with consciously controlled timbre.		For [[Frédéric Rapin#Travailler la technique avec la meilleure qualité sonore\|Frédéric Rapin]], sound must always have a clearly definable core. The sound vibrates around this core. This concept promotes presence, color and elegance in the playing and creates the prerequisite for intoning the sound. It is essential to perform the etudes, scales, and chord studies with the best possible sound quality, i.e. with consciously controlled timbre.
	Alain Billard is convinced that in order to describe timbre and sound quality, several characteristics must always be mentioned, specified by supplementary adjectives. The effect of an artistically valuable sound quality ultimately remains entrenched in the metaphysical. What triggers the listener's emotions and is ultimately to be striven for are the vibrations of the music and the vibrating of the air.		<br>
	François Benda sets himself the goal of achieving a homogeneous timbre across all pitches. The sound must not be dull at the bottom and may not be sharp and pointed at the top.		[[Alain Billard#La qualité sonore\|Alain Billard]]is convinced that in order to describe timbre and sound quality, several characteristics must always be mentioned, specified by supplementary adjectives. The effect of an artistically valuable sound quality ultimately remains entrenched in the metaphysical. What triggers the listener's emotions and is ultimately to be striven for are the vibrations of the music and the vibrating of the air.
	For Steve Hartman, knowing how to combine all registers with a homogeneous timbre is the basis of phrase formation. Only this makes it possible to draw a tonal line without individual notes standing out uncontrollably. However, it is also important for the different registers to maintain their independent character. In order to achieve artistic quality, the sound should be dynamic, colorful, and malleable at all times. In terms of playing technique, one should have the flexibility to match the musical context, projecting the sound well in soloistic passages, but blending tonally with other colors in a woodwind or string section.		<br>
	James Campbell points out that the player always perceives his own sound as brighter than do the listeners in the hall. A seemingly bright sound produced with a quick stream of air is perceived in the hall as darker and rich in overtones. In his lessons, he pays special attention to the changes of register, whose tonal control is achieved through differentiated vowel shaping.		[[François Benda#Klangqualität und Homogenität\|François Benda]] sets himself the goal of achieving a homogeneous timbre across all pitches. The sound must not be dull at the bottom and may not be sharp and pointed at the top.
			<br>
			For [[Steve Hartman#Sound quality and the essence of Music\|Steve Hartman]], knowing how to combine all registers with a homogeneous timbre is the basis of phrase formation. Only this makes it possible to draw a tonal line without individual notes standing out uncontrollably. However, it is also important for the different registers to maintain their independent character. In order to achieve artistic quality, the sound should be dynamic, colorful, and malleable at all times. In terms of playing technique, one should have the flexibility to match the musical context, projecting the sound well in soloistic passages, but blending tonally with other colors in a woodwind or string section.
	Honing the ear		<br>
	Alain Damiens hones the ear by dealing with the softest sounds and noises. As an example, he mentions the composition "Dal Niente" by Helmuth Lachenmann~~[17]~~, where ear sensitivity must be used to perform differently colored sounds through various vowel shapes. As a further exercise to refine the ear, Alain recommends "scanning one's own sound with the ears for overtones." This didactic idea is also used by Russel Harlow on the basis of Ralph McLane's sound analysis (see above). He places this analysis in direct connection with the double-lip embouchure.		[[James Campbell#Bright or dark?\|James Campbell]] points out that the player always perceives his own sound as brighter than do the listeners in the hall. A seemingly bright sound produced with a [[Embouchure#Increased Air Speed in the Area of the Reed Tip
			\|quick stream of air]] is perceived in the hall as darker and rich in overtones. In his lessons, he pays special attention to the changes of register, whose tonal control is achieved through differentiated vowel shaping.
			==Honing the ear==
			[[Alain Damiens#Lachenmann: des bruits dans le ppp pour affiner l’oreille\|Alain Damiens]] hones the ear by dealing with the softest sounds and noises. As an example, he mentions the composition "Dal Niente" by Helmuth Lachenmann<ref>Lachenmann, H. (2005). Dal niente (Interieur III): Für einen Solo-Klarinettisten = for a solo clarinet-player. Wiesbaden: Breitkopf & Härtel.</ref>, where ear sensitivity must be used to perform differently colored sounds through various vowel shapes. As a further exercise to refine the ear, Alain recommends "scanning one's own sound with the ears for overtones." This didactic idea is also used by [[Timbre#Russel Harlow on the basis of Ralph McLane's sound analysis (see above). He places this analysis in direct connection with the double-lip embouchure.

	Technique of Sound Coloring		Technique of Sound Coloring
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	18. Seite „Formant“. In: Wikipedia, Die freie Enzyklopädie. Bearbeitungsstand: 21. Dezember 2020, 21:45 UTC. Wikipedia contributors, "Formant," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Formant&oldid=993662135 {December 29, 2020}.		18. Seite „Formant“. In: Wikipedia, Die freie Enzyklopädie. Bearbeitungsstand: 21. Dezember 2020, 21:45 UTC. Wikipedia contributors, "Formant," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Formant&oldid=993662135 {December 29, 2020}.
	19. ↑ Spektrum.de {17. November 2020}		19. ↑ Spektrum.de {17. November 2020}

	~~[[Kategorie:Fundamentals, English]]~~

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]