"...relationship between lace and music...discovered
another...Belgian...Binche...Bayeux...bobbins...musical sound (Belgian not as
clear, Binch higher pitched/clickety..."  Nancy


As a percussionist favoring
drums, one becomes quite aware of wooden sticks.  I loved a conversation with
owner of "Lacemaker USA" where she too talked about how she loved the
sound/music that bobbins make.  I remember acknowledging the pleasant click of
the needles when one knits, and several people wrote to say their needles
don't make a sound when they knit...that joy had escaped them, as they do. 
The sound and tons vary with wood content (densities vary), length and
thickness, and perhaps to a lesser degree, shape.  The latter is too much
physics oriented and more subtle for me to comment on at length.  Of course
the way you throw them, how they hit each other, and the load of the thread
and even it's type (content/thickness) also factors, as it is a "damper" which
we also use to change tone in drumming.  That can range from actually adding
cloth or batt to the inside of a drum and all the various relations from
placement, to degree of contact, and would be similar to the "thread factor."
A hard wood will bring a clearer tone than a less dense one.  I suppose you
could compare it to wine glasses filled with water and running your finger
over the rim (or when we tap a glass with a utensil or our fingernail).  The
volume of the water factors into it, but even more so, the content of the
glass itself, as lead crystal provides a clearer sound that an inexpensive
glass.  Here too the shape can affect but one typically stays with similar
shape as you control the sound with the liquid...adding other factors like
glass shape and what composes the glass tends to make it all too complicated
and more trial and error.

It is one of the reasons that I love bobbin lace,
and one can use the rhythm to help one relax and begin listening to the sound
pattern as much or more than the process.  A bit like knitting where one
begins to get into the clicking of the needles and the pattern/rhythm of the
lace pattern and when the sound is off, you know you have to go back and check
for a mistake.

Complicated subject, but one of the perhaps unconscious
rewards of bobbin lace.  Since I don't work with spangled bobbins, I am
curious if the metal and beads tend to dampen the experience of the wood
sounds.  I would guess that would be true to a larger degree, as the wood
doesn't get its full chance for a resonant tone.  Working the same or similar
piece of stitch with an ebony wood and another with jaspe or another, would
still bring subtle differences.  To many it wouldn't matter, but to some
brings the ultimate refinement of the experience.

Then one begins to consider
if they are choosing bobbins not only for price, but for looks (preferring
those with a certain look) verses the sound they make.  I think we tend to
choose things for visual reasons as most of us dominate in visual, but some
are auditory and it is often secondary for most, which could help bring this
awareness to the forefront.  


When I choose new drum sticks in the store, I
choose certain types of woods as I know they will provide better sound and
control (and some are stronger woods).  I also roll them across a glass
counter to see if they are straight, which nowadays amuses the the sales
person as they have no idea what I am doing.  Then I have to explain it all
and they suddenly stop laughing as it is harder to execute what one wants with
a stick that isn't completely straight, and the sound is clearer or more
resonant.  You can also hear the wood sing as it rolls, which indicates even
if it has a defect (which isn't good near the neck close to the tip).  Of
course I don't go into that as they would probably think I was crazy, but
these are all things that we unconsciously note, and some choose to bring to
the conscious mind for insight and fulfillment, so we can better execute or
express our gift.

Happy lacing!

Susan Reishus

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