 The Clarinet BBoard
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Author: 2cekce ★2017
Date: 2010-10-01 23:19
Hello guys and gals, I have a question about tuning. my efforts and exposure has taught me to just pull/push the barrel in or out while
watching a tuner. what I would like to know is, is this method of tuning
actually tuning every note( or almost every note), or do you recommend
a note by note tuning if thats possible. I have a full boehm with the
articulated G#, came with two barrels of different sizes, since pulling out the upper and lower joints is out of the question what other methods would allow me to make sure most of the notes in each register are in tune
aside from listening which I may need to work on.
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Author: sfalexi
Date: 2010-10-01 23:48
Tom Ridenour has a good article which includes tuning the clarinet. Start at the top. Tune an open G by pulling/pushing the barrel. Then tune the clarion G by pushing/pulling the middle joint. Then pull the bell out about a millimeter (Tom Ridenour states that pulling the bell out about a millimeter will help response and clarity of the long B/C - I agree from my experiments with this method on various clarinets).
http://www.ridenourclarinetproducts.com/tuningBb.htm
Alexi
[edit] - Did I say "good" article? I meant "great". This simple tuning method, with a good clarinet that's in tune with itself, will work VERY well for blending with an ensemble. I haven't had any complaints so far....
US Army Japan Band
Post Edited (2010-10-01 23:55)
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Author: 2cekce ★2017
Date: 2010-10-02 00:03
if I move the middle joints my G#/C# hole will either be half closed or fully closed. btw I did read Tom Ridenour article and its good if you can move the middle joints which use on my vito. My Amati has the key listed above so will using a different barrel correct for both registers he (Tom) mentions?
Post Edited (2010-10-02 00:14)
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Author: sfalexi
Date: 2010-10-02 00:31
Hmmm. Didn't know the middle joint affected an articulated G# that much (can't remember ever having a clarinet that had one). Don't know then. Maybe barrels with different tapers can help? I'd probably ask some barrel makers what they recommend.
Alexi
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Author: concertmaster3
Date: 2010-10-02 02:29
what are you noticing in terms of intonation on your clarinet with itself? (are any notes extremely out of tune against the others?)
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: Ed Palanker
Date: 2010-10-02 03:06
Tuning from the barrel is usually the first thing we do but you have to remember that it will effect the notes closer to the barrel than the notes further away. So it will effect your throat tone notes a lot more then say you low G-D. I usually recommend pulling out the middle joint if the lower half of your clarinet is sharp, something apparently you can't do, and even pulling out the bell if the bell tones are sharp, unless it makes the low E unbearably flat. Then any single or combination of notes that are still sharp we put tape in the upper half of the hole below that note to bring the pitch down on that note as long as it doesn't throw out the 12th above or below. To make a single note sharper you usually have to have someone that knows what they're doing undercut the tone hole. Remember too, some barrel designs will alter the pitch in one register more than another. Could make your throat tones sharper or flatter, could make you clarion register sharper or flatter but remember, when it "fixes" one register it may have a negative effect on another register. What a barrel won't do is fix a single note, they're not that smart. ESP http://eddiesclarinet.com
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Author: Bob Bernardo
Date: 2010-10-02 08:17
As usually Ed Planker is right on. Before trying to tune your horn there are other tricks you can do, but I'd suggest working closely with a repairman that knows how to undercut key holes. For example I had trouble with the low E on my A clarinet and changing bells was the answer. I've seen bells with drill holes in them to tune the low E, but you could run into trouble here if the 12th above it, the B, may play really sharp.
It is hard or perhaps impossible to tune a horn perfectly, for example when playing you are dealing with overtones. So you do have to adjust a bit when playing in a band or an orchestra.
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Author: BartHx
Date: 2010-10-02 17:19
As you noted in your initial post, you MUST listen. Even an instrument perfectly in tune with itself needs slight adjustment to "sound right" in particular situations. Perfect intonation, as defined by physics, does not sound quite right to the human ear. A group tuning note only gives you a reference point relative to the rest of the group. Every individual instrument is going to have slight variations on all the other notes. In addition, the intonation of a particular instrument is going to change with changes in ambient conditions. Don't underestimate the importance of listening. No matter how good the instrument, you are going to have to make adjustments based on listening.
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Author: gsurosey
Date: 2010-10-05 04:02
I have a related question.
On my A clarinet, a couple of the tone holes have something in them (resembling tape) for intonation purposes (I assume). On my A, I typically play noticeably flatter than I do on my Bb (using a 64mm Moennig barrel on both; I know it's too short, but I don't have money to buy a new one). Playing right out the case, my Bb is nearly in tune or sharp and my A is always flat (in tune if the room is toasty enough). I use the same barrel since it's hard for me to switch just the mouthpiece without knocking the reed out of whack. My teacher showed me a way to do it, but it will be tough for me to switch hands (he suggested gripping my ligature screw side with the palm of my right hand; I generally pull off the barrel/mouthpiece with my left hand gripping the barrel).
Do the modifications to the tone holes help me or hinder me? In other words, are the modifications raising or lowering the pitch (my assumption is lowering). If that's true, would removing them help raise my pitch? The 3rd fingers in both hands are the tone holes that are modified. I didn't want to just yank them out in case that made things worse.
Thanks
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Author: Bassie
Date: 2010-10-05 08:35
Tuning open G requires a skilled player with a stable embouchure. That note can wander.
Tuning clarion C (concert Bb) is more stable but is not guaranteed to get the instrument in tune. My 'C' is sharp compared to the rest of the instrument so first I have to pull out the bell a bit and then tune at the barrel. This works pretty well.
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Author: Paul Aviles
Date: 2010-10-05 12:03
Dear Bassie,
I would take issue with your assertion about the open G being "less stable." For me, this note represents a good "average" of everything on the horn, and it is the note that seems most IN THE MIDDLE (neither having to lip up OR down) of all the notes on a horn.
I did have a college band director who preffered to tune the clarinets to "Eb" (our first space F). I find this note can tend low on many setups so I default to the G.
This all said, when tuning I do arpeggiate the prevailing pitch to get the best reading on where my registers are sitting at the moment.
............Paul Aviles
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Author: Bassie
Date: 2010-10-06 07:20
Paul,
What I mean is that the 'G' is easy to lip up or down. So an inexperienced player, or one who just hasn't warmed up yet (themselves as well as the instrument) may get a false sense of security from this note. I remember being taught to tune to long notes for this reason. Though as we've discussed, this has its own issues.
Interesting what you say about 'F' (written). I have found that in a wind & brass ensemble, the 'F' (actually, top line clarion 'F') is frequently quite wacky in the brass section (don't know why), so it makes sense to tune it across the ensemble.
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