Klarinet Archive - Posting 000301.txt from 2004/11
From: "Forest Aten" <forestaten@-----.net>
Subj: RE: [kl] pitch standard
Date: Sun, 7 Nov 2004 18:26:57 -0500
Forest, this is a question, not a challenge or disagreement:
Assuming that you had decided that a certain pitch was necessary in a
certain ensemble situation --- and putting 'social courtesy' aside,
thinking only of the music --- how far "off" would you say that a player
could be before the other ensemble members would be justified in
commenting that the player was "out of tune"?
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Not much time...sorry. I've got to go play....but...
I agree with Dave about establishment and use of a common tuning standard.
I also agree with Dave in his estimation of what might be acceptable about
how many cents off I (or other professionals) might accept as being
"in-tune". BUT....here are a few things to think about. Scattered as usual.
Sorry.
I don't agree with Dave with regard to the mid or lower frequency
instruments being more difficult to play in tune than the higher frequency
instruments. The lower the frequency the longer the wave form and so if you
have a discrepancy in the "pitch", you'll have the wave forms cross less
often in a/the same given time frame than with the higher frequency/shorter
wave form instruments. Remember that every time the waves cross you have a
node and this is what is causing all of the noise "beats" associated with
being "out of tune". The higher frequency instruments produce shorter wave
forms and you'll hear more beats per the same time interval being the same %
of cents out of tune.
I know from years of playing in very good professional ensembles that
players have a very difficult time maintaining Dave's standard or 4 cents.
Many players...even very good players would have a difficult time with this
standard. Even when playing in a solo situation, I've had to bend notes as
far as 30 cents to play in-tune within the orchestral harmonic fabric. It is
very complicated. Movements of harmonic structures through the orchestra
often results in movement of the pitch center of the orchestra.
Lots of things to think about.
Let me give you a practical example from the opera repertory. We are
currently performing Bizet's opera, Carmen. In the first act the second
clarinet has several solo notes that blossom into sections full of rich
chords and slow melodic passages. It happens three times. In each case the
2nd player has been resting for several measures prior to the entrances...so
these three sustained quarter notes come out of no-where.
The player must anticipate the placement of the note (intonation) based on
several things.
The orchestra finishes a phrase and the solo note must come from the pit
with some relationship to what came before. Whatever the pitch center.
Following harmonic structure (where does the solo note fit into the
following chords)
Instrumentation (knowing tuning tendencies of the instruments that will make
up the harmonic basis...including your clarinet and its tendencies) Playing
"in-tune" means playing with others....tuning standard or not.
The first solo note is the written C in the staff. Most French clarinets
sound this note slightly sharp (often as much as 10-20 cents if a player
checks using a tuner...and doesn't move the pitch) relative to the A440
tuning standard.
*As an aside: I've performed the opera on two sets of clarinets during this
run. I've done the show with set of R13's and a newer set of Festivals. The
right hand of almost all Festivals is higher than the R13's so a different
tact must be taken. You have to really know your clarinets.
Because of the C's position in the upcoming chord, I didn't have to move it
much, maybe 5 cents down. The bassoon is the first instrument to enter after
the solo note and they enter on a note in the chord that requires a slightly
higher pitch AND the note they play on the bassoon is typically higher. So
it's easy.
The second solo note is the written E at the bottom line of the staff. A
note that is typically low, relative to the A440 tuning standard, on most
French clarinets. It is on mine R13 and even lower on the Festivals. Because
of the placement in the upcoming chord I really have to move this note up,
as much as 10 cents for it to sound "in-tune" in the chord. Moving the first
line E up 10 cents is a challenge as there isn't much flexibility on that
note. I have to move it, no choice. I have horns entering first to deal
with, as these chords develop. Horns have different tuning issues from the
bassoon.
I could probably find examples in every work I've played where a player
might be required to move a note a lot more than 4 or 5 cents in order to
sound "in-tune".
Sorry it couldn't an easier or more set answer.
Regards,
Forest
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