Klarinet Archive - Posting 000838.txt from 1997/12

From: Jacqueline Eastwood <eastwooj@-----.EDU>
Subj: Re: Ten cents -- can you spare a dime?
Date: Thu, 18 Dec 1997 10:42:37 -0500

On Thu, 18 Dec 1997, Ed Lowry wrote:

> Jacqueline Eastwood's discussion of what notes to tune to included the
> observation that her long B is ten cents sharp, but that (apparently)
> wasn't so much as to cause her worry. (I'm paraphrasing, so apologies if
> this is incorrect.)

To be more precise, with a "natural" embouchure (i.e., unadjusted for the
note), my concert A is about 10 cents sharp. To compensate for that, I
have two choices:

1) Pull the barrel (resulting in flat throat tones; it depends on the
temperature whether I will do that)

2) Adjust my embouchure/oral cavity -- tongue position slightly lower &
more back, lower jaw dropped somewhat -- the note feels like it is coming
from the back teeth area instead of high on the soft palate. Gosh, it's
hard to describe these adjustments which are surely miniscule but make a
big difference!

>
> Now that we have tuners, of course, one doesn't need to hear that a note is
> sharp or flat, one can see it on the meter. This may not be good, since it
> can make us rely on the electronics in front of us instead of the ears
> within us. Nevertheless, Jacqueline's note prompts the following question:
> How much does a note need to be flat or sharp, in terms of cents on the
> meter, to raise concerns about whether the clarinet should be adjusted?
> Does Jacqueline (or any professional clarinetist) adjust for those ten
> cents whenever she plays that particular note?
>

Of course, the above-described adjustments are for "getting set" only --
once you start playing with other people, you're going to have to
compromise! I have not found the inherent sharpness of that note to be a
particular obstacle, but then again, I am probably adjusting for it,
which, once you get used to doing it all the time, you do without thinking
about it. And I've had many years to get used to it!

> Thanks for your thoughts.
>
> Ed Lowry
> Sacramento
>

And to go one step further, I use a lot of adjusted fingerings -- adding
keys on throat tones, etc. -- which works the same way -- you do it
without thinking about it.

Jacqueline Eastwood
University of Arizona/Arizona Opera Orchestra
eastwooj@-----.edu