Klarinet Archive - Posting 000599.txt from 2002/03
From: "Robert" <LetsReason@-----.com>
Subj: Re: [kl] R-13 and intonation. . .good grief
Date: Thu, 21 Mar 2002 10:23:19 -0500
Great "stuff" on tuning, Ladies and Gents. Thanks...sincerely.
There is a particular aspect of tuning that I notice missing, and one that I
think that is more practical in the long haul. [Let me take a cue from
Jim's disclaimer: I am not suggesting that all this information is
insignificant-I think it is very important to understand. Just wondering
when someone was going to throw as much information or discussion towards
the following issue related to tuning.]
What about the mental perception of tuning. For me, this touches several
aspects not really addressed in these posts.
1. The teeth (for most) of the clarinetist touches the mouthpiece and in
doing so, allows another element of the sound to directly influence his/her
perception. [I use a plastic/rubber pad on my mouthpiece, as I know many
do. While this cuts down on many of the vibrations, it does not eliminate
the effect I am speaking of.]
2. Related to number 1, have you ever noticed (maybe this is "just me")
that the perception of playing "in-tune" with the piano's A whilst blowing
seems different from the one when you release the note and hear what reverb
there may be.
[Note: I perceive the issue to be that the piano A decays immediately and
this "vibration" in the skull while we tune plays a role in our perception
of the intonation we hear/heard with the hammered A of the piano. Ever
notice how even some wonderful players, who play in tune for the most part,
seem to miss that tuning note with the piano before they start but then play
in tune during the piece?]
3. Harmonics also affect our perception of intonation. I find it
interesting that depending on what instrument or in what conditions I play
in, playing the same intervals can sound and feel different. For example, I
am rehearsing my recital with my pianist and when we move to the school's
practice rooms (particularly with her "favorite" piano) I have the absolute
hardest time playing in tune with it. The room we practice in makes
everything (me and the piano and every note in-between) sound bright...VERY
bright. Maybe our resident "sound expert" can clue us into what is
happening with the reflection of certain overtones from the walls, floor and
ceiling to cause this issue. On stage or in a "darker" sounding room
(setting), the intonation is much easier.
Lastly, with all this disussion of "what is..." tuning, I want to offer that
tuning is something I fret many people shy away from "practicing" except
when with a group or accompanist. Maybe someone can send some ideas of how
they have practiced tuning on their own with a tuner (like the Peterson
tuners), piano or computer. *Understanding* what needs to be done to make
intervals and chords in-tune is just the beginning. Actually hearing it and
doing something about it truly is a skill and an art (more for some than
others). It needs to be practiced and a technique available to the
professional artist just as much as playing scales and good sound, in my
opinion.
[Interesting note: With my computer I can play through a microphone and
listen to myself as if I were in a number of situations (auditorium, concert
hall, bathroom, etc). Situations with lots of reverb coming back really
let's you know whether you are keeping a pitch. I like to practice playing
sustained tones and changing dynamics with it to see if I can maintain a
pitch level through the varying levels. Even the release needs attention
not to change pitch as we stop the air from causing the reed to vibrate.
Another challenge is to play various articulations to see if I can keep the
same pitch from the beginning to ending of note to note, no matter the
articulation.]
Any ideas on these points?
Robert
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