Klarinet Archive - Posting 000024.txt from 1996/03

From: Tom Labadorf <Labadorf@-----.COM>
Subj: Re: Teaching students to play in tune
Date: Sat, 2 Mar 1996 01:53:22 -0500

Clark W Fobes writes:

"I have been asked to do a clinic on mouthpieces and intonation and
am interested in in-put from anyone on the list. I have some very
definite ideas about the problems of playing in tune both from a
technical and social aspect, but I wonder how some of you that teach
approach intonation with your students. Particularly young students."

Ditto everything Mike Moors said especially number three below:

-----
Other important items:

1. I always tune throat tone g and a from the barrel. Middle line B and
the C above from the bell if they are still high. This gives you a
balanced tuning.
2. I have my students make a chart notating how many cents flat or sharp
their instrument is. They need to know their equipment.
3. I use a tuner that has a pitch and have them match to the pitch. Not
play to the dial. Then you can use the dial for reference later.
4. Get a quality mouthpiece.

Mike Moors
-------

My routine for intonation practice is combined with my daily warmup:

I use a Korg AT-12 which gives a pitch to tune to using the meter only to
check my accuracy as Mike mentions. When I first start, I calibrate the
tuner down to meet my pitch. The warm-up I use is a variation of Stubbins
exersizes I learned years ago.

Quarter=60 (must use metronome)
Set the tuner to concert 'd' four leger lines below treble staff.
Play in half notes: low E, up to B (fifth above), up to E (octave above),
down to A, down to low E on whole note.

Then, four beats of rest (two beats to exhale excess air, and two to inhale).
Then play the same passage 1/2 step higher with tuner stepped up to concert
E-flat.

Repeat this pattern up to concert D one octave higher while recalibrating the
tuner back up to 440 gradually as you go along.

When executed daily it should become a montra, and a fine exersize on
concentration.

The beauty of this exersize is that it "kills two birds with one stone" -
warm up and intonation. The open intervals against the sustained pitch gives
a good reference for pitch and gives the player a good sense of pitch
tendencies without relying on the meter. The clarinetist should have a sense
of going down to meet the pitch. If s/he has to pinch up to meet the pitch
from the tuner, then pull out. Always think "centered and down" and pay
particular attention to tone quality.

It's difficult to explain completely without illustration. Any questions?
Please let me know.

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