Klarinet Archive - Posting 000768.txt from 1996/02

From: "Edwin V. Lacy" <el2@-----.EDU>
Subj: Re: Pitch vs Temperature
Date: Sun, 25 Feb 1996 17:50:20 -0500

On Sat, 24 Feb 1996, Tom Labadorf wrote:

> What did wind instrument makers do amongst this tuning chaos before the
> International Bureau of Standards? And how did this chaotic tuning standard
> effect chamber music involving the piano? It would seem to me that there
> must have been an agreed upon standard just for the instrument makers,
> otherwise they would be making instruments specific for each performing group
> and tuning whim.

Well, I'm old, but we'll have to ask for information about this from
someone older than I! :-) Actually, many instruments made from the
early 1900's through the 1920's are stamped "H" or "L" for high and low
pitch. There has been a discussion of this on this list within the past
several months. There is some disagreement about exactly how high was
high pitch and how low was low. It may have differed from one
manufacturer to another.

> I know a fine clarinetist who frequently "rides" the upper edge of
> the pitch center around him on purpose. When confronted, he says he would
> rather play sharp than flat, and playing just slightly above will add a
> brightness to his tone. Why choose between sharp and flat? What's the
> problem with playing in tune!? (sarcasm)

Perhaps sarcasm, but very much to the point, I think. Years ago, I heard
Henry Gulick, then teaching clarinet at Indiana University, say that
whenever two players play together, the flatter one always sounds wrong,
no matter which one of them may actually be in tune. My experience has
tended to confirm that, at least for my own ears. I have also heard
some of the prominent jazz clinicians advocate that the first alto sax
in a jazz band saxophone section tune a little sharper than the nominal
pitch in order to help them "cut through" the texture a little more. I
have tried this in situations in which I have played saxophone in a show
band where I was trying to be heard above a large brass section, drums,
and several amplifiers. I'm not sure whether it really works, but I
know that to me, it felt uncomfortable to play that way.

In discussing tuning and intonation, it always seems easier to come up
with the questions than the answers.

Ed Lacy
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Dr. Edwin Lacy University of Evansville
Professor of Music 1800 Lincoln Avenue
Evansville, IN 47722
el2@-----.edu (812)479-2754
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