Klarinet Archive - Posting 000580.txt from 2002/03

From: "Bishop L.D. Jackson III" <lubydjackson@-----.net>
Subj: [kl] Good Statement
Date: Wed, 20 Mar 2002 23:35:12 -0500

I really enjoyed your statement about intonation.

I've long known this because my daddy was friends with a fellow who
tuned all sorts of piano's for his livelihood.

I learned that in a grand piano there are three strings for each note
and how they each had to be slightly out of tune to get that one note in
tune and then even that note had to be tuned with 87 other keys.

It's interesting that you post this sagacious statement. I've printed
this out and will always keep this. As instrumentalists, we've all been
over conditioned to be way too detailed about this or that.

HatNYC62@-----.com wrote:

>In a message dated 3/20/02 4:16:30 AM, Bill Hausmann writes:
>
><< The R-13 was revolutionary in the 1950's, but, given the advances by
>some other manufacturers, may be getting somewhat dated now. For example,
>better intonation can be found in any number of clarinets from other
>manufacturers, and even from other Buffet models. >>
>
>Here we go again.
>
>R-13 represents an evolving clarinet, not a single design over 50 years. Many
>improvements have been made, especially in the last 10 years.
>
>One man's "advances" are another man's backwards or sideways.
>
>The best clarinet intonation comes from the player, not the instrument.
>
>It is perfectly possible to play a good new R-13 in tune (or out of tune).
>
>"Better intonation" would be a matter of small degrees.
>
>Even if you could 'put the needle in the middle' of the tuner on every note,
>you would still be out of tune a significant portion of the time.
>
>Intonation is a matter of listening and understanding one's place in the
>chord and orchestrational structure.
>
>As I said before to those who feel duty-bound to say negative things about
>Buffet clarinets: "Get over it."
>
>David Hattner, NYC
>www.northbranchrecords.com
>
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