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Klarinet Archive - Posting 000618.txt from 1999/01

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Re: klarinet Digest 14 Jan 1999 03:51:05 -0000 Issue 924
Date: Thu, 14 Jan 1999 09:12:17 -0500

On Wed, 13 Jan 1999 HatNYC62@-----.com wrote:
> Intonation is more a factor of the ear of the player than the instrument
> he/she plays on. No clarinet (or any wind instrument) ever built plays
> perfectly in tune with itself under every circumstance. You either know how to
> play in tune or you don't. The instrument either helps you or hurts you to
> varying degrees. "It was tuned at the factory" just doesn't cut it.
>
> -David Hattner, NYC

David's description sure hits the nail on the head. The comment....the
instrument either helps you or hurts yout to varying degrees is where it
is all at. The notes on the R-13 that are most annoying (first space F,
high E, sometimes high F, F#, and G) are quite easy to adjust on most
R-13's. Occassionally one comes along that is way out. I had an R-13
that was absolutely wonderful except for the low G - it was so sharp that
I couldn't play the Hindemith Sonata on it (several movements end on that
note at PP). That's one of the notes I check now when trying them out.

Regarding the first half of the post - the ability to hear the pitch, know
if you are in tune with the last note you played (relative pitch) as well
as hear if it is out of tune with others is paramount to the adjustment
one makes - on every note. Regardless of what instrument is used,
professional orchestral players spend a huge amount of energy working at
intonation with their woodwind section during the rehearsal/performance.
It is a developed ability to learn to play in tune.

Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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