Klarinet Archive - Posting 000166.txt from 2005/10

From: "Steve" <steve@-----.com>
Subj: RE: [kl] Re: Upward Creeping Pitch
Date: Wed, 19 Oct 2005 03:20:20 -0400

The subject of higher pitch is an interesting problem for Tuneup. When I
deal with major orchestras, they all want the A442 version of Tuneup, yet
readily admit that A442 is a "starting" point!

With the inflexibility of pitch variance inherent in the clarinet, how does
pitch creep affect the instrument by the end of the concert? Certainly, it
must strain both player and instrument!

Walter?!

Stephen Colley
www.tuneupsystems.com
804-852-8219

-----Original Message-----
From: GrabnerWG@-----.com]
Sent: Tuesday, October 18, 2005 10:02 PM
To: klarinet@-----.org
Subject: Re: [kl] Re: Upward Creeping Pitch

In a message dated 10/18/2005 6:23:15 PM Central Daylight Time,
oboeterry@-----.fm writes:

<<As an oboist, I would have to disagree with this statement. Oboists
can easily play a quarter step above or below most pitches, and also can
make different pitched reeds for different occasions ... the same way a
clarinetist should have barrels ranging from 63-67>>

I'm thinking back on what I wrote. Of course, oboists have tremendous
variability as they can make reeds that can play sharper or flatter as the
situation dictates.

Isn't it true however, that if you show up with all your reeds, for
example,
made to play at 440, and the group is playing at 444, you will have big
problems? As I understand it, the "push-in, pull-out" thing can only be
done to a
very slight degree.

Is it possible to show up with several well playing reeds, one at 440, one
at 442, and a third at 444?

As to discouraging "pitch creep" I am well known as the guy who keeps
calling for another "A," just to keep that very situation from happening.

Walter Grabner
www.clarinetXpress.com
World-class clarinet mouthpieces

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