Klarinet Archive - Posting 000472.txt from 2005/08

From: Richard Bush <rbushidioglot@-----.net>
Subj: Re: [kl] Tuning vs. Intonation
Date: Sat, 27 Aug 2005 13:22:54 -0400

There have been some fine comments contributed to this thread. The
idea that one should know the music well so that a large part of
their efforts can go from the reading process and be redirected to
the listening and concentrated efforts required to address the tuning
process is a very good suggestion.

Clark Fobes' chiming in on "just" tuning should ring everyone's
chimes. Many do not understand or have not had this explained or
demonstrated to them. To extend this part of the conversation, I
would add that ear training in a related area is also important. It
is important to recognize when one has the third, or the fifth, or
the root, or the flatted seventh of a dominant seventh chord. When
one knows, and can even predict and anticipate such things, through
ear training and a basic theory background, tuning can take a strong
leap forward in the desired direction.

Another area, not really touched on, has to do with tuning
incompatibilities that arise when mixing student level instruments
with professional grade clarinets in the same section. With the
proper tweaking, many tuning problems can be fixed or vastly
improved. I will mention a few. The sliver key on the lower joint,
the key used along with the first finger right hand to play the
chromatic fingering for B nat./F# can be tuned so that both notes are
well in tune. The top joint sliver key and the first side jumper key
that are opened to produce Eb/Bb (D#/A#) can be set to opening
heights that produce good and equal pitch. That pitch should be set
to some place close to an equal temperament location and be an equal
distance from those pitches a half step above and below. (Here is an
example of a good use for a tuner.)

The most important area for concern are the throat tones of first
space, written f#, open G, G#, A and Bb. First, and this is with
student clarinets that are built sharp, determine a corrected length
for the instrument. This will require both pulling between barrel and
first joint and filling the resulting gap with tuning rings. Once
this is done, the other notes are brought into pitch by regulating
the key heights and openings of the top ring key (for open G), G# by
raising or lowing how far it opens, A with the G# key and lastly, the
Bb/register key.

The Bb register key should open relatively little (less than the
thickness of a dime). The height of the register key, or rather, the
lowering of the height of the register key can lower and make better
the top end of the second register, high B and C, and also lower the
overblown twelfths of B natural and C that start the second register.

Much greater compatibility can be had by resetting or fine tuning
the student instruments. While it would be nice to have only artist
grade instruments in a section, and better still, have all
instruments the same brand and model for compatibility and like
tuning, that is seldom a possibility. Much can be done by a fine tech
to improve most mixed sections of soprano clarinets.

When it comes to tuning, it only takes one skunk to stink up the wood
pile.

Richard Bush

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