Klarinet Archive - Posting 000637.txt from 2003/03

From: GrabnerWG@-----.com
Subj: Re: [kl] intonation
Date: Sun, 16 Mar 2003 13:21:40 -0500

In a message dated 3/16/2003 2:30:08 AM Eastern Standard Time, hklug@-----.edu writes:

<< Quite frankly, locking myself into a pitch through tuning rings makes me a little "nervous," as I then remove my ability to respond quickly to any necessary pitch changes (to find the sharpening horns, for example) of an upward nature as the peformance continues...never cut off any path of retreat, I guess...>>

I agree with Howard, especially in an orchestral setting where there is frequent switching of clarinets.

You simply have to have the flexibility to "push-in" when picking up a cold clarinet, and to "pull out" as it warms.

Also, I play frequently in a hall where they LOVE to turn on the cold air blowers during a performance, and if you have a long rests, it becomes a task to keep even one horn "warmed up".

When I have to play at different pitch levels, say playing with an A=400 piano after an A=442+ orchestral. I prefer to use different barrels. For both my "A" and "Bb" clarinets I have 440 barrels and 442 barrels. This seems easier to me than fussing with tuning rings which I ALWAYS seem to drop on the floor OR get stuck in the barrel tenon socket.

I am going to try pulling at the mouthpiece rather than the barrel as Howard and Abe advise. It certainly makes sense as you can add length (lower pitch) but create a smaller lacuna or void, as the upper tenon socket has a smaller diameter, thus a smaller open space and the resulting disruption.

Why have I not tried it before? Well, habit is a powerful force. I was always told to "pull at the barrel", and to me that meant between barrel and top joint.

I have a concert coming up this week, I'll try "pulling at the mouthpiece" and report back.

Cheers,
Walter Grabner
www.clarinetXpress.com
Fine hand-crafted clarinet mouthpieces

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