Klarinet Archive - Posting 000023.txt from 1996/03

From: Tom Labadorf <Labadorf@-----.COM>
Subj: Re: tuning with strings (and muted trumpet)
Date: Sat, 2 Mar 1996 01:53:16 -0500

Karl Krelove writes:

"Also, as a string player plays higher on the fingerboard, finger movements
(including the back-and-forth rolling used to produce vibrato) result in
large pitch changes, so the same vibrating motion up high on the E string
will produce a larger pitch fluctuation than the same motion in first
position on the G string."

Very interesting information about vibrato up the fingerboard that I had
never considered, and it makes a lot of sence.

In a recital this week, I discovered another combination that creates an even
more irretating intonation problem that with string players: clarinet with
muted trumpet. Especially with a straight mute, intonation is much more of a
challenge. Being just a little off made a big difference. It reminded me of
the challenge of tuning E-flat clarinet with piccolo. Most of the problems
were in the clarinet register playing open fifths and fourths.

For those who are interested in the music, they were very interesting pieces
and fun to play dispite the occassional intonation challenges:

_Ritmo Jondo_ by Surinach (sic?) for clarinet, trumpet, perc. I (xylophone
and tenor drum), perc. II (timpani), and 3 hand clappers. Three movement
work that's not excessively challenging except for one short section in the
last movement - tongued 16th notes at quarter=132 in scale passage that ends
in a screeching sustained high G. Yikes!

_Serenade_ by Alfredo Cassella for violin, cello, clarinet, bassoon, and
trumpet. Definately the gem of the program. A beautiful piece, but
challenging! One of the movements is strings only playing doublestops the
entire movement - should have been written for string 4tet. You would need
some top notch string players, and the other parts are loaded with traps.
Definately worth the trouble.

Tom Labadorf
Clarinetist, U.S. Coast Guard Band
Labadorf@-----.com