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Doublereed Archive - Posting 000094.txt from 2007/06

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] RE: doublereed Digest 16 Jun 2007 21:01:02 -0000 Issue
Date: Sun, 17 Jun 2007 15:35:46 -0400

Or one can buy "The Tuning CD" and spend hours learning the harmonic
tendencies of his instrument in different keys and in different functions
within the key. It is fascinating and I believe it has helped me as well as
my students to play more in tune as ensemble. Oddly enough, it also improves
the ability to blend the tones, a problem which is often one less of timbre,
but more affected by nuance of pitch. Through this exercise, I have learned
to appreciate even more the wonders of the Heckel bassoons as compared to
the very rigidly tempered American tubes. "The Tuning CD" is some of the
best money (not a lot) I have ever spent. I have Mr. Morelli's similar CD
also, but have not spent as much time with it (yet). Both would be
invaluable as practice tools for small ensembles to say nothing of being
essential for a serious student.

Herb

On 6/16/07 2:21 PM, "Keith Bowen" <bowenk@-----.com> wrote:

> Ed
>
> I recently changed from Leblanc Concerto clarinets (very similar to Buffets,
> whatever they say) to Wurlitzer Schmidt Reform Boehm. My Leblancs were very
> well in tune but the Wurlitzers are much better. I play with both
> professionals and amateurs, who mostly have Buffets. With the pros, we are
> very well in tune, because they adjust. However the amateurs tend to play in
> the middle of the note, and there are certain notes that clash, as Buffets
> and Leblancs are less well in tune. So for clarinets at least, what you say
> is not correct.
>
> Having said that, no wind instruments are, or should be, equal temperament,
> and adjustments are always required to play in tune. No note is fixed; it
> depends on the harmonic context.
>
> If anyone doubts this they should do this exercise with another. Both play
> C. Then player 2 holds C, player 1 plays G, and they tune to a perfect fifth
> (no beats). Player 1 back to C. Then player 1 up to B, again tune the
> seventh till it is beatless. Then player 2 moves back up to the G (as close
> as possible the same one s/he played before). Player 1 then should adjust to
> get the third in tune. The difference is quite large and easily perceptible.
>
> The reason is that beat-free tuning is what we aim for in an ensemble, the
> the seventh of the tonic (I) is a different pitch from the third of the
> dominant (V).
>
> As for "dark tone"... I just refer you to the Klarinet list archives ...
>
> Keith Bowen
>
>
>
>
>> Date: Sat, 16 Jun 2007 13:18:18 -0400
> To: doublereed@-----.org
> From: "Ed B. Flowers" <flowerse@-----.net>
> Subject: Re: [DR-L] Re: 21 yr old Elizabeth Koch, Curtis dropout=ASO
> Principal
> Oboe
> Message-ID: <46741B5A.9000408@-----.net>
>
>> Barbara,
>
>> A fascinating conjecture.
>
>> I though all of us Loree players were supposed to be instinctively
> lipping the notes in tune. Lipping notes in tune is also necessary on
> dark-toned Buffet clarininets. Apparently out-of-tune scales are the
> price that you pay for better tone. The in-tune oboes and clarinets that
> I've played didn't have nearly as nice a tone.
>
> Edward B. Flowers
>
>
>
> ---------------------------------------------------------------------
> For personal help: email doublereed-owner@-----.org
> Doublereed is a service of Woodwind.Org, Inc. http://www.woodwind.org
>

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