home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
Monster Media 1994 #1
/
monster.zip
/
monster
/
EDUCATE
/
CLARINET.ZIP
/
CLAR4.CHP
< prev
next >
Wrap
Text File
|
1994-01-31
|
2KB
|
61 lines
%
#EF
#TIntonation
#C2,R5
This chapter will deal largely with factors affecting intonation
other than general embouchure flexibility. ~HAdjusting one's 'A' to
the standard "A" by changing one's embouchure is the worst thing
to do.~N The 'A' may now be in tune, but only temporarily with an
altered embouchure. Instead you should play the best-centered, best-
sounding, most resonant 'A' you can - with normal embouchure. Then
check it for pitch; if your tuning is not right, do not adjust
yourself!~H Adjust your instrument.~N Pull or push the barrel and
again play the note, using your optimum quality of tone, etc.
Continue adjusting the instrument until you agree with the established
pitch.
#HH,20,16,50,2,10,1
~HA cold instrument will play flat.~N It is important to get the instrument
properly warmed before attempting to tune. The reason a cold instrument
plays flat is because the air column is also colder. Sound travels
slower in colder (denser) air. Slower sound speed results in fewer cycles
per second - and therefore a lower pitch.
#W
%
#EF
#T
#C2,R5
Some other pitch problems encountered with the clarinet include:
An inclination to sharpness in the low register and flatness above.
The clarinet tends to sound flatter as one plays louder.
Strangely, the human ear tolerates sharpness far more than flatness. As
a result some players will drift into the use of sharpness unknowingly
when he discovers that the tone projects over a general pitch of the
band or orchestra. Similarly if two unison players are slightly out
of tune the flater tone will be deemed in error even when the sharper
instrument is really at fault.
#HH,20,17,50,2,10,1
A usefull intonation excercise is to practice occasionally with an
electronic tuning device. This makes one aware of the more "out of tune"
spots on the instrument. In addition, it allows experimentation with the
many useful slight differences of pitch adjustment available by means
of opening or closing near-by keys.
#W
%
#EF
#T
#C30,R15
End of Chapter Four
#W
#NC
#X