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Klarinet Archive - Posting 000203.txt from 1997/09

Subj: Re: Chromatic Tuner & Intonation
Date: Fri, 5 Sep 1997 00:15:00 -0400

This is all exellent advice on working with tuners for intonation practice!
Dr. Borchert, I hope you don't mind if I add or perhaps clarify a couple of

In a message dated 9/4/97 10:19:44 PM, you wrote:

My personal choice is still the Korg AT-12. I like being able to
see the needle rather than an LED indicator. It is a little larger so
it's not as convenient to carry around and that may be an important
factor in your selection. There seem to be new machines out all the time,
so search various sources and comparison shop as well.>>


This is the machine I use as well. However, I learned during my visit to
Lubbock, TX that this model is replaced by model AT-120. It has the same
features as AT-12 - analog meter, pitch production from its own speaker, same
number of octaves. The differences are the shape of the unit (its a little
more square shaped) The meter part is hinged and doubles as a cover, in
playback mode, you can select different octaves without playing through the
entire scale, they eliminated the "fast-slow" meter selection. Now you have
no choice. (Can't remember the one they stayed with).

The price is around $180 which I think is a bit steep, but I haven't found
another brand that has this same useful combination of features.


Exercises:. . .

2. Since we usually perform with other players, it should be part of
your practice to work on matching pitches. This is where the tone
generator feature is important. First work on unisons, then octaves,
4ths, 5ths, 3rds (both major and minor), 6ths (also both), seconds, and
finally sevenths. Even dissonant intervals need to be played in tune.
Again, it is helpful to map out what you need to do to the notes to play
them in tune (eliminate beats).>>


You should mention that the performer should not check the meter when tuning
other than perfect intervals, but trust his/her own ears. Intervals of 3rds,
6ths, 2nds, 7th do not match the same equally tempered pitches that the tuner
is programed to recognize and read. (e.g., An 'e' played as unison with
another tone will be a different pitch than the same 'e' played as a major
third against a 'c'.) Only the human ear (or some highly suffisticated
tuning apperatus not invented yet) will know the right placement of pitches
as they relate to other notes.

If you would like to know more about this, please read my article on the
Online Clarinet Resourse on the internet. This article is accompanied by
suggested warm up exersize that incorporates the use of a tuner's pitch
generator, and a select bibliography on the subject of temperments.

Tom Labadorf
Clarinetist, U. S. Coast Guard Band
Adjunct Instructor:
Hartt College of Music Community Division, Connecticut College, New London CT

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