Klarinet Archive - Posting 000058.txt from 1995/09

From: "R. Gerry Long. Clarinetist, studied at Eastman,
Subj: Re: Intonation
Date: Tue, 5 Sep 1995 01:07:18 -0400

Some insight into intonation. Let me begin with the observation that it is
amazing how many band and orchestra directors never stop to tune a major
chord.

When I first began teaching on the college level--band and orch director in a
small mid west college--and woodwinds, I wrestled with the intonation problem
constantly.

I worked with my students with strobe tuning devices to make them acquainted
with the faults of their instruments in regards to conflicts with tempered
pitch (which manufacturers do try to emulate), but felt that it did not take
into consideration the deficiencies of most students with regards to the
sound of pure intervals. With my very first college band, the members could
sing a major chord with better intonation than they could play it.

So the idea came to me that if we had an electronic device with 4 fine-tuned
variable oscillators representing bass, tenor, alto and soprano ranges, we
would be able to let the students create their own versions of intervals and
triads and 7th chords--both natural and tempered. With strobe tuners and
oscilloscopes we had at least crude means of evaluating the results.

I was able to cajole a friend of mine--an engineer at Stromberg Carlson in
Rochester to build such a device, if I was willing to front the patent costs.
In those pre-transistor days this turned out to be a 40 lb. gorrila, but it
was very effective.

We were not able to get it patented because some wag had beaten us to the
patent bank with four variable oscillators in a device with which four church
goers sat around a card table and played church hymns. (I swear!).

So my engineering friend was not very happy, but I was able to use the device
for a number of years with my students. We set it up with a Stroboconn at
one side to demonstrate to the students when they had a tempered chord, and
with an oscilloscope at the other side to demonstrate what adjustments they
had to make to create a chord with pure whole tone ratio intervals (For
example, a Mm7 with the exact ratios of 4-5-6-7).

In the first place, it was a revelation to me and the students to realize how
far one has to adjust the tempered notes of a chord to make turn sound
"pure". And having the oscilloscope to visually verify those intervals
becoming "pure" as they were adjusted was most convincing.

I am surprised that with the advanced technology of today, there is no such
device on the market--which should weigh about one pound and cost about
$49.00.

If anyone is aware of the availability of such a device, or research in that
direction, I would be pleased to hear about it.