Klarinet Archive - Posting 000116.txt from 1995/05

From: "Edwin V. Lacy" <el2@-----.EDU>
Subj: Re: Woodwind Quintet Intonation Problems
Date: Wed, 3 May 1995 17:39:56 -0400

In my previous post on this subject, I forgot to mention that neither the
oboe nor the bassoon can very effectively be tuned by pulling out the
reed from the receiver (or the bocal from the body, in the case of the
bassoon). Because of the necessity of keeping the whisper key pad
aligned with the nib on the bocal, the bassoonist is limited to less than
one-quarter inch leeway in this regard, which in comparison with the
approximately 8-foot length of the bore is negligible. Further, pulling
out the oboe reed or the bassoon bocal leaves a gap in the bore at the
bottom of the receiver, which causes turbulence in the air column. This
phenomenon is known as the "Venturi effect." It causes problems with
response, especially in the lower register.

The double reed instruments really can be tuned only by making
adjustments to the reed, the embouchure or the breath. When an ensemble
tunes and you see the bassoon players pretending to adjust the bocal,
they are just trying to fool the concertmaster or conductor into thinking
that they are fixing the instrument for better intonation. I have been
playing bassoon and oboe for over 40 years, in many kinds of ensembles,
and have never pulled out the bocal or reed in order to tune. But, I can
adjust to some degree to varying pitch levels by adjusting the reed or
the playing technique. That is why critical listening is so important to
double reed players, as well as to others, and why sitting in a practice
room for hours playing long tones and trying to match an electronic tuner
is such a futile waste of time.

A further consideration in woodwind quintet intonation which I have been
intending to contribute to this thread is the fact that in the best
quintets, intonation is primarily a matter of tuning to the lowest
sounding pitch, which means to the bassoon most of the time, occasionally
the horn. This is due to the fact that in a texture of various pitch
levels and tone qualities, it is easiest to hear the lowest note. So, if
your bassoonist plays in tune, you have a much better chance of getting
the entire group in tune.

It is also necessary for the players in the quintet to be aware of the
intonation tendencies of all the instruments in the group, not just their
own. For example: c#1 is the flattest note on the oboe, is normally
quite sharp on the bassoon, and c#2 is the sharpest note on the flute
(but, c#1 is very flat on the flute). When this octave interval
occurs, all players have to be willing to make major adjustments.
Also, the throat tones on the clarinet tend to be sharp, as do the tones
one octave lower than these in the bassoon. So, when the bassoon and
clarinet are written in octaves in this range, as they often are, the
pitch can really climb through the ceiling if they aren't aware of what
is happening.

Edwin Lacy
el2@-----.edu