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This page goes over notes that tend to be out of tune.
Throat Tones
Throat Tones
The notes shown here are known as "throat tones." If you finger them using the suggested fingering in your method book, they will typically be very sharp. In order to bring down the pitch, we use resonator fingers or "shading." This concept is discussed in the video below.
Throat Tones Continued
Throat Tones Continued
As discussed in the video, there are a variety of fingerings we could use in our right hand (and a couple using our left hand) to improve the tone quality and the pitch of our throat tones. Each person and each clarinet is built differently. Experiment with different fingerings to get the best results. Try some of the examples shown here and then try some of your own. You can record yourself using different combinations of resonator fingers and listen back to see what you like the best. Check intonation with a drone or tuner.
A
A, shaded
F#
F#, shaded
Ab
Ab, shaded
Bb
Bb, shade #1
Bb, shade #2
Bb, shade #3
Problematic Non-throat Tones
Problematic Non-throat Tones
These notes tend to play somewhat sharper than the same pitches down an octave. You can adjust pitch here by increasing the space between your body joints. For the C, you can increase the space between the bell and the lower body joint. In a pinch, you can slightly loosen your embouchure and lower your jaw to drop the pitch.
These notes may play sharp if you are using the correct embouchure and and tongue position. These notes are highly dependent on tongue position. If you find that you are not blending with your section, consider lowering your tongue position slightly for these notes. Remember, guessing and checking is always okay. Use a tuner or drone for guidance.
These notes tend to play flat on some clarinets. A very fast air stream and firm embouchure can raise the pitch. Also make sure that you have not pulled out your bell too far to compensate for other intonation issues.
Final Thoughts on Intonation
Final Thoughts on Intonation
When tuning the clarinet, it often boils down to a series of compromises. There is no "perfect" set up that will make you play in tune at all times. The tuning process we go through at the beginning of class is to simply get as close as possible. From there, the key to good intonation is to constantly listen to the people you are playing with and to make adjustments as necessary. Never assume someone else is out of tune--compromise to find the best sound possible.
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