Klarinet Archive - Posting 000649.txt from 2002/03
From: Stan Geidel <sgeidel@-----.net>
Subj: Re: [kl] So you wanna play in tune?
Date: Fri, 22 Mar 2002 13:16:31 -0500
David Niethamer mentions Tom Labadorf's exercises...
> The first exercises I used post TUNEUP were given to me by Tom Labadorf,
> who is on this list. I think those exercises might still be on Sneezy
> somewhere - search on Tom's name to find them.
These may be found at
http://www.ocr.sneezy.org/articles/labadorf1.html
Stan Geidel
----- Original Message -----
From: "David B. Niethamer" <dnietham@-----.edu>
Subject: Re: [kl] So you wanna play in tune?
> on 3/21/2002 9:25 AM, David Hattner wrote:
>
> >It is called INTONATION TRAINER. I demoed a predecessor of it once. It is
> >quite ingenious. I don't own it, but it shows the user where notes need
to
> >be BASED ON WHERE THE NOTE IS IN THE UNDERLYING HARMONY. Plus, everything
is
> >tuned to just intonation so you can hear the 'beats' of your own
> >shortcomings. It also has a microphone for your computer so you can both
> >'see the meter' AND hear the pitches, something most tuners can't do.
> >
> >Now I DO own a predecessor of this program. It is a cd and book called
> >TUNEUP. I recommend this highly. I loaned it to a colleague recently (a
> >superb clarinet player) and she called a few days later and said "this
thing
> >is kicking my ass!" Which is exactly what it is supposed to do. Tuneup
is,
> >as far as I know, still available and it is not very expensive.
> >
>
> I own this book, and I've used it, and used it with students. But there
> are cheaper solutions that are just as good, in some ways better. At
> least they're cheaper if you already have a good tuner that emits a
> strong pitch.
>
> The first exercises I used post TUNEUP were given to me by Tom Labadorf,
> who is on this list. I think those exercises might still be on Sneezy
> somewhere - search on Tom's name to find them. They involve playing
> intervals against a sounding pitch. The exercises start with open
> intervals, (unison, octave, 5ths, 4ths) and get more complex (see David
> H's comments about tuning 6ths below!). Very useful, and I printed mine
> on two sheets of 8.5X11 paper. I start students with these pages.
>
> Also, Larry Guy's "Intonation Training for Clarinetists" is an excellent
> guide to working on intonation, with practical and useful exercises. You
> can get it from Gay Van Cott.
>
> In looking around my hard drive to check some stuff for this reply, I ran
> across an article of Stan Geidel's about Tuning in the Practice room.
> Interesting outlook, and right on the money as far as I'm concerned.
> Check it out on Sneezy (Online Clarinet Resource).
>
> >Now the problem with this is some of the pitch bends that are required in
> >either of these programs (especially for 6ths) are so extreme that they
are
> >about impossible to accomplish on the clarinet. That's ok, because at
least
> >you'll know where it is supposed to be and get as close as possible.
> >
> Larry Guy has an interesting take on this, which is (paraphrased by me)
> "Don't try to make it perfect - try to make it better." This way,
> gradually you learn to place notes where they need to go in various
> contexts.
>
> on 3/21/2002 10:23 AM, Robert wrote:
> >
> >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?
>
> In tuning with the piano, there is a double barreled problem. If the
> pianist strikes the tuning note too hard, there is a definite spike on
> the pitch. If you tune to that, you're dead. Also, there's a bit of a
> spike on the clarinet attack. So you have to hold the pitch out to hear
> where it "settles" which is where you want to tune.
>
> I like to hear a chord to get some context when tuning with piano. The D
> minor chord many string players favor works well for me. If I'm playing
> just with piano on Bb clarinet, I prefer a Bb major chord to tune the Bb
> and F concerts, which for me give a more accurate idea of where my Bb
> clarinets play, all the A concerts being somewhat sharp to varying
> degrees. Still, if you've done your homework and know the tendencies of
> your Bb instrument, you should be able to tune using A concert to avoid
> the tacky instance where the cello (or flute, or violin) tunes to A and
> you request a Bb!
>
> on 3/21/2002 12:00 AM, Bill Edinger wrote:
>
> >This thread reminds me of the anecdote about, I believe it was, Bruno
> >Walter, who, after allowing the orchestra to tune, pronounced, "Thank
you,
> >gentlemen. We will now procede to play out of tune...together."
>
> paraphrase of a quote from George Szell, to an orchestra he guest
> conducted:
>
> Gentlemen, I want to thank you for your generosity during this week. At
> each rehearsal I have asked you for the A, and you have regularly given
> me two or three!
>
> David
>
> David Niethamer
> Principal Clarinet, Richmond Symphony
> dnietham@-----.edu
> http://members.aol.com/dbnclar1/
>
>
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