 The Clarinet BBoard
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Author: James Garcia
Date: 2001-11-07 18:00
I'm a high school clarinetist and I play in the Chicago Youth Symphony Orchestra and I am also the only playing on Leblanc. It seems no matter what i do as soon as I go up into the upper register, notes: Crunch B is flat, C is a little sharp, D a little flat, F# is so flat that i have to use my third finger to get the pitch up or use my pinky, and my g is flat, which makes it even harder becasue middle C is sharp, so when i pull out in the middle it makes the 12 G even more flat. Then My D above the staff is flat. Im trying to adjust to be in tune with my self but when i get with the other people in my section, it is just plain out aweful.
For them and in their scale, un the upper register is a little higher all the way around but can be dealt with. It's hard to find that comfort medium to play in tune which is drive me absolutely crazy. Oh yes, adn my throat notes are EXTREAMLY SHARP on my opus when i play them on a buffet they are where they are sopposed to be. So if you could imagine this you could see it isn't really that pleasent. I'm Considering switching to buffet for those and some other reasons. I know it isn't the clarinet that makes the clarinetist but its like i can't get my clarinet to work with me and do what i want and I cant focus on music then.
I kind of feel like an fool in a little bit because I have always maintained that Leblanc are infinatly better than buffet and because i have spent so much on my clarinets. I know there really isn't any question here. Im just not really sure what to do to fix this problem with out changing my Set Up.
If any of you could offer me some advice on what to do I would greatly appreciate it.
Thanks,
PS My A clarinet is a Concerto in A and doesn't have any of the same probablems im quite happy with it,
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Author: Douglas
Date: 2001-11-07 20:01
As a member of the Youth Symphony, you are supposed to have help from a member of the Chicago Symphony (at least that was the way it used to be). Have you asked these same questions of the professional helping your section and/or had him play your clarinet? If Combs is available, he certainly should be able to tell you if you have an Opus lemon, or what else the problem might be.
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Author: William
Date: 2001-11-07 21:02
I play on Concertos and am finding that this time of year is rough on my clarinets scale for intonation. My instruments seem to be playing flater, in general, than usual--but adjustments like switching to a shorter barrel seem to remedy the situation. In general, however, my high D is a bit flat, but I just lip it up a bit. On F#, I have become accoustomed to using the r-h third finger "bananna key". My high G is a bit sharp so I use the TH, R, XOX XXO Eb fingering or just the overblown B--they seem to be both ok. If your throat tones are inordiantely sharp, check to see if your A-Ab key is opening too far. Learning to "vent" them may help. Play G#, A and A# with your l-h 2nd and 3d fingers down. I also like to put my l-h pinky on the B/E key as well. How is your side throat Bb? As for "crunch" Bb, I researve using it only for fast diatonic and chromatic passages. Side Bb should be much better and your fingering of choice. Try to get an appointment with Greg Smith and have your mpc checked. He may be helpful with your other tuning concerns as well. A trip up to the Branans in Evanston, might help--they can check your instruments bore specifications and make minor tuning and tone adjustments to fix problems that may be the source of your tuning woes. Many clarinetists have their instruments "Brananized" and are happy with improved performance. In any case, do not be too hasty to set aside your LeBlancs. I switched to LeBlanc Concertos after years of playing Buffets and it took a long time, a year or more, plus a lot of "tweeking" at the LeBlanc factory by Tom Ridenour, before I felt really comfortable performing on them. Now, when I get out my old set of R-13s, I wonder how I ever put up with their tuning and register problems as well as I did. The LeBlancs are so much easier to play music on. Hope this cyberbable helps--Good Clarineting.
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Author: James
Date: 2001-11-08 03:24
Well I have already my clarinets "brananized" and I do have an Appt on friday with them. My mouthpiece is a hawkins, im not sure greg would be to fond of working on that. I will see what i can do but i am finding using a borrowed set of R13s that i like them better. I really dont think i have a lemon though, i mean i went to the leblanc factory and richard hawkins helped me pick it out from a lot of horns there. I had an opus that one made in the early 90's that i swear was perfect for me like no other clarinet but it was cracked a few months later and they replaced the clarinet. It was really never the same for me. I feel bad saying this becasuse i have always belived that leblanc were also so much better than buffet, like buffet couldn't ever come close, and you know i think to the old set, like larry, and julie still play on i hold that to be true, but with these newer horns, sadly, buffet are winning the battle again in my book. CSO doesn't really work with us to often, john came in last year and worked with us but i think they are all way to busy to help us. But thanks for you imput from both of you
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Author: Wes
Date: 2001-11-08 06:33
Is there someone else around there to help on checking the Leblanc instrument? Throat tone tuning is a minor situation as they can be fixed quite easily. There may be some other things that can be done easily. Have you checked the tone holes for dirt or crud? Are all the pads seating properly? Do any of them have torn skins? Sometimes, tone holes can have chips out of them that cause leaks that can change the tuning. These can usually be resurfaced easily. Pad heights are important, too.
High F#'s are often flat, especially on Buffets. The long fingering is handy but must be seriously practiced to get it under the fingers. Even then, it tends to be a little high in pitch. In bands, one probably doesn't need it as the other first clarinet players probably don't use the long fingering and it may be wiser to play a bit flat with them than to clash. A tighter embouchure for this note may help but the long fingering is a good one to be comfortable with. There are several other fingerings, of course. Best of luck!!
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Author: James
Date: 2001-11-08 06:38
no no no! LOL i know that high F# is always flat, im talking about the on at the top of the staff. I have to use my third finger on my right hand instead of my middle, or my middle with the Eb Key
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Author: donald nicholls
Date: 2001-11-08 10:35
boy, you've got problems- and the Opus is not cheap either. I got a new R13 in 1998 and am now so sick of the tuning problems that i'm wishing that i'd got an Opus or Concerto..... the most obvious thing to do is this- get FOUR other good players to play it, while you look at the electric tuner..... this way you can definately say, without question (ie, no one can say that "you are just a student" and don't know better) that it is the instrument, NOT YOU.
then try complaining to anyone you can find who has anything to do with Leblanc. Maybe even contact Tom Ridenouer, or get your teacher to contact him(sorry if you reading this Mr R, but all power to the hard done by, i say). If none of that works, then get expert advice and find out how much it will cost and how much can actually be done- from the sounds of it you will be at Brannen soon.
i really advise my first advice, that way you really ensure that you will be taken seriously. Of course, if they all end up with different results.... Mouthpieces will affect intonation of course, but unless someones playing on a really whacky mouthpiece, the result shouldn't be too disimilar.....
donald
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Author: William
Date: 2001-11-10 14:59
James:
My Concertos were designed and "tweeked" by Tom Ridenour when he was still with Leblanc. Even with all his expertise and help, my top line F# and top space E are still a bit flat, so I have to be careful not to pull the middle joint too much to bring down the long C and B. They are, however, with in two cents of "center" on the tuning meter and are easy to correct via emboucure. The throat tones, on both my Bb and A are great. Again, check the heighth of the pad openings, try venting, and remember that some material (Tom used some blue epoxy on one of my side tone holes) can be added to the top interior sides of the A and Ab tone holes to bring their pitches down if necessary. Tom Ridenour now works for a large music store in Texas and does custom clarinet work on request. He is currently pushing Selmers, but I would bet my best V-12 reed that he could help your LeBlancs as he was "The Man" behind their creation. I believe the name of the store is Brooks-Mays. Good Clarineting!!!!
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Author: Sheryl
Date: 2001-11-12 23:25
If you don't like the clarinet, don't play it. However, I have a very hard time believing that Richard Hawkins sold you a clarinet with that screwed up of intonation. I have played Leblancs that he picked out for friends of mine and they are excellent instruments. I play Buffet but many of my colleagues play Leblanc and we have no problems with intonation in ensembles. Have several other people (preferably college-level or professional clarinetists) try your horn and see if they have the same intonation problems. A lot of times, especially with high school students, serious intonation problems can be a result of bad tongue position or embouchure. You should also know that you are very fortunate to have the option of choosing what kind of horns you play. A luxury denied most of us. I will be playing my Buffets for many years to come as I cannot afford new clarinets, but were I to buy new ones, I would most likely get Leblancs. If this clarinet has always played so out of tune, you should never have bought it. If it has changed recently, you may need to get it re-bored. Good luck.
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Author: Ashley
Date: 2001-11-13 03:19
Yeah, Sheryl, I agree with you. Richard Hawkins is very very smart when it comes to these things, and he would not pick out a bad instrument. I also agree with sitting with a professional (your teacher, perhaps) and a tuner and seeing exactly what the problem is. It may be the player, not the instrument. I play an Opus and have not experienced these problems and none of the people I know who play Opuses do either.
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Author: James Garcia
Date: 2002-06-13 09:15
OH GOSH!! Richard Hawkins is great! The best!! I don't remember the tunning issues when picking it out. There was a tunner in front of us. It was fine, then i don't know. The horn still sounds amazing and feel that is amazing too. Just to make it clear again, i am not criticizing richards judgement, i have so much respect for him.
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