 The Clarinet BBoard
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Author: 2cekce ★2017
Date: 2011-04-21 02:44
Hello pros and nonpros, now I'm totally confused. when trying to tune my clarinet using the 62.5mm barrel my tuning G (open) is right on center and the tuning C(clarion) is 2 cnts sharp pushed all the way in, when I pull out about 1mm G is now 2 cnts flat and C is right on. Now when tuning with the 64mm barrel G is about 1cnt flat and C is about 1 cnt sharp pushed in
when I pull out about 1mm G is now about 3 cnts flat and C is right on center. Is there a method to tuning I dont know about or is this something I will need the assistance of a teacher for? btw I lost my job to layoffs so a teacher right now is not a viable option for me. but if a teach is what I will need should i leave it alone for now until I can afford one.
my setup is as follows; amati 615pro with two barrels 62.5 & 64mm, vandoren mouthpieces M30 and M13profile 88 with vandoren optimum
ligature using the vertical rib pressure plate and mitchell laurie premiums
3.5 to 4
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Author: tictactux ★2017
Date: 2011-04-21 06:49
One cent flat on G and one cent sharp on C sounds like excellent tuning. What did you expect? Zero cents all over the range?
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Ben
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Author: concertmaster3
Date: 2011-04-21 10:22
yea. That's actually pretty good. If you want to be really picky, try pulling out at the bell some for the notes that extend that far down the bore.
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: Tobin
Date: 2011-04-21 11:26
Ron has it right on - tune the open G at the barrel and the clarion C at the bell. Even the middle joint can and should be used for tuning within reason.
Sorry to hear about you job -- best wishes returning to the work force!
James
Gnothi Seauton
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Author: 2cekce ★2017
Date: 2011-04-21 14:24
excuse my ignorance I thought you had to zero out to be in proper tune, so I guess there is a certain level of tolerance allowed
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Author: tictactux ★2017
Date: 2011-04-21 15:07
You know, there's hardly an instrument that plays in tune all the time, on all notes. The art consists in listening and adapt to other player's tuning. A tuner will just tell you that eg your C has been in tune at 10:17 this morning, when the humidity was 72% and the temperature 21.6°C.
Try the tuner again after half an hour of practice and discover how much you've wandered off in the meantime... ;-)
FWIW the difference of A=440Hz vs A=441Hz is about 4 cents...
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Ben
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Author: Ed Palanker
Date: 2011-04-21 15:16
I play on a Selmer Signature Bb and also use a 62.5 barrel, it came with a 64 as well but it plays flat with that. I begin with the barrel all the way in but after it's warmed up I need to pull it out about one mm. I also pull out the middle joint about two mm once warmed up. That way my throat tones play in tune and my break notes play in tune too. Pulling out the bell in effect the B and low E but have only little effect on the C-F, pulling out the middle joint is your best bet. I have the same problem with my old Buffet Bb, I need to keep the middle joint pulled out even more than on my Selmer. You never want to play with a flat throat tone because you have to pinch it up, much easier to relax a bit of use fingers to bring the pitch done if necessary. ESP http://eddiesclarinet.com
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Author: 2cekce ★2017
Date: 2011-04-21 16:27
Thanks for the info, I might add though I forgot to mention that If I pull out at the middle joint it will throw the G# key (hole) out of alignment or will it?
Post Edited (2011-04-21 16:30)
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Author: BartHx
Date: 2011-04-21 16:40
As a retired Physics teacher, I was looking through a physics text from the 1920s the other day. It had a clear explanation of the diatonic scale and how each note in the scale is a frequency ratio of the previous note. The catch is that, depending on where you are in the scale, there are three possible ratios. For example, in a C major scale, there is a fixed ratio between C and D and a different ratio between D and E. If you move up to a D major scale, the ratio between D and E should be the same as the ratio between C and D from the C major scale. So, the interval between D and E in a C major scale is not the same as the interval between D and E in a D major scale. They calculated that, in order to play every diatonic scale in tune, we would need 72 different pitches per octave. At best, the tuning of an instrument is a compromise. It is totally impractical to try to make an instrument "perfectly in tune with itself". We "tune" to an agreed reference note and then, through listening and reacting, make adjustments up or down based on what key the music is written in. The important thing is to be always listening so that you can match your pitch to the rest of the musicians. Different manufacturers may temper their pitches differently, so that you cannot just rely on everyone being out of tune the same amount in the same direction. The three most important words for a musician -- LISTEN! LISTEN! LISTEN!
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