Intonation (English) - Versionsgeschichte

Heinrich: /* Further Links, Essays, and Literature */

2021-04-28T20:02:32Z

Further Links, Essays, and Literature

← Nächstältere Version		Version vom 28. April 2021, 22:02 Uhr
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	=Further Links, Essays, and Literature=		=Further Links, Essays, and Literature=
	*Reine Stimmung ~~[2]~~		*Reine Stimmung [https://doris-geller.webnode.com/biografie-ambitionen/ Doris Geller] (1997) gives a theoretical introduction to different intonation systems, explains the phenomena of beats, of difference and combination tones, describes melodic-horizontal and vertically oriented intonation, and provides a practical collection of exercises.
	*[https://doris-geller.webnode.com/biografie-ambitionen/ Doris Geller] (1997) gives a theoretical introduction to different intonation systems, explains the phenomena of beats, of difference and combination tones, describes melodic-horizontal and vertically oriented intonation, and provides a practical collection of exercises.
			[[Kategorie:Fundamentals, English]]

	=References=		=References=

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Attempt at Interpretation */

2021-04-28T20:01:39Z

Attempt at Interpretation

← Nächstältere Version		Version vom 28. April 2021, 22:01 Uhr
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	==Attempt at Interpretation==		==Attempt at Interpretation==
	[[Datei: Bernoulli - Venturi.png\|links\|x250px\|mini\|[https://www.tec-science.com/wp-content/uploads/2020/06/de-gase-fluessigkeiten-stroemungsmechanik-bernoulli-venturi-effekt-rohr-reduzierstueck.mp4 Bernoulli - Venturi. Bernoulli - Venturi. Increasing the air flow by decreasing the diameter. Video: tec-science]]]		[[Datei: Bernoulli - Venturi.png\|links\|x250px\|mini\|[https://www.tec-science.com/wp-content/uploads/2020/06/de-gase-fluessigkeiten-stroemungsmechanik-bernoulli-venturi-effekt-rohr-reduzierstueck.mp4 Bernoulli - Venturi. Bernoulli - Venturi. Increasing the air flow by decreasing the diameter. Video: tec-science]]]
	A note from Heinrich Mätzener: "many of the interviewees mention that faster airflow is accompanied by higher intonation and slower speed by lower intonation." The physicists Daniel Bernoulli and Giovanni Battista Venturi were able to demonstrate that a fluid airflow through a pipe of changing diameter increases in speed at the narrowest point, while simultaneously decreasing in pressure (see [https://www.tec-science.com/de/mechanik/gase-und-fluessigkeiten/hydrodynamisches-paradoxon-druck-als-energie/ tec-science website]]).		A note from Heinrich Mätzener: "many of the interviewees mention that faster airflow is accompanied by higher intonation and slower speed by lower intonation." The physicists Daniel Bernoulli and Giovanni Battista Venturi were able to demonstrate that a fluid airflow through a pipe of changing diameter increases in speed at the narrowest point, while simultaneously decreasing in pressure (see [https://www.tec-science.com/de/mechanik/gase-und-fluessigkeiten/hydrodynamisches-paradoxon-druck-als-energie/ tec-science website]).
	<br<		<br>
	In the case of the clarinet, this applies to the air, whose path between larynx and mouthpiece can be changed by the above-mentioned factors: larynx (glottis), throat, tongue shape and position, floor of the mouth, and embouchure pressure.		In the case of the clarinet, this applies to the air, whose path between larynx and mouthpiece can be changed by the above-mentioned factors: larynx (glottis), throat, tongue shape and position, floor of the mouth, and embouchure pressure.
	<br>		<br>
	"If the lip position is opened by relaxing the lip muscles, slower air flows through the mouthpiece with the same air supply (at the same air pressure). This results in a slower air flow and the intonation is somewhat deeper. If the lip muscles surround the mouthpiece and the embouchure becomes narrower, faster air flows through the instrument. This results in a higher intonation. The air speed directly in front of the mouthpiece can also be influenced by different voicings, and by higher or lower positions of the tip of the tongue or the base of the mouth, even while maintaining the same embouchure. These factors can be combined in different ways and with differing airflow to achieve the desired result."		"If the lip position is opened by relaxing the lip muscles, slower air flows through the mouthpiece with the same air supply (at the same air pressure). This results in a slower air flow and the intonation is somewhat deeper. If the lip muscles surround the mouthpiece and the embouchure becomes narrower, faster air flows through the instrument. This results in a higher intonation. The air speed directly in front of the mouthpiece can also be influenced by different voicings, and by higher or lower positions of the tip of the tongue or the base of the mouth, even while maintaining the same embouchure. These factors can be combined in different ways and with differing airflow to achieve the desired result."

			[[Kategorie:Fundamentals, English]]

	==Corrections with Special Fingerings==		==Corrections with Special Fingerings==
	[[Michel Arrignon#Intonation\|Michel Arrignon]] primarily uses special fingerings to correct intonation. Additionally, he uses lighter or darker voicings and different reed positions. [Thomas Piercy#Intonation\|Thomas Piercy]] uses different fingerings to change the timbre, which he finds allows the intonation to remain unchanged.		[[Michel Arrignon#Intonation\|Michel Arrignon]] primarily uses special fingerings to correct intonation. Additionally, he uses lighter or darker voicings and different reed positions. [Thomas Piercy#Intonation\|Thomas Piercy]] uses different fingerings to change the timbre, which he finds allows the intonation to remain unchanged.

Heinrich: /* Correcting by Changing the Larynx Position */

2021-04-28T20:00:35Z

Correcting by Changing the Larynx Position

← Nächstältere Version		Version vom 28. April 2021, 22:00 Uhr
Zeile 91:		Zeile 91:
	<br>		<br>
	[[Frédéric Rapin #Mâchoire stable - gorge, voyelle et glotte flexibles\|Frédéric Rapin]] attaches great importance to the "availability" of the larynx and glottis, and to voicing – for the purpose of correcting intonation – as well as to the fact that the embouchure and airflow remain as a stable unit.		[[Frédéric Rapin #Mâchoire stable - gorge, voyelle et glotte flexibles\|Frédéric Rapin]] attaches great importance to the "availability" of the larynx and glottis, and to voicing – for the purpose of correcting intonation – as well as to the fact that the embouchure and airflow remain as a stable unit.

			[[Kategorie:Fundamentals, English]]

	==Correcting by Changing the Embouchure Pressure & Adjusting Airflow==		==Correcting by Changing the Embouchure Pressure & Adjusting Airflow==
	[[Gerald Kraxberger#Musculus masseter contra Musculus orbicularis oris\|Gerald Kraxberger]] makes sure to create the necessary embouchure pressure with the lip muscles ([[Embouchure#Muscle activations and its Functions\|Musculus orbicularis oris) and not with the jaw muscles ([[Embouchure#Embouchure Pressure\|Musculus masseter]]). This is best practiced using only the barrel and mouthpiece, since the differences in pitch are very clearly perceptible here. If a downward correction of intonation is necessary, [[Seunghee Lee#Techniques to change the pitch\|Seunghee Lee]] and [[Thomas Piercy#Intonation\|Thomas Piercy]] lighten the pressure on the reed. At the same time as the embouchure is loosened, the airflow and support must be adjusted and strengthened.		[[Gerald Kraxberger#Musculus masseter contra Musculus orbicularis oris\|Gerald Kraxberger]] makes sure to create the necessary embouchure pressure with the lip muscles ([[Embouchure#Muscle activations and its Functions\|Musculus orbicularis oris) and not with the jaw muscles ([[Embouchure#Embouchure Pressure\|Musculus masseter]]). This is best practiced using only the barrel and mouthpiece, since the differences in pitch are very clearly perceptible here. If a downward correction of intonation is necessary, [[Seunghee Lee#Techniques to change the pitch\|Seunghee Lee]] and [[Thomas Piercy#Intonation\|Thomas Piercy]] lighten the pressure on the reed. At the same time as the embouchure is loosened, the airflow and support must be adjusted and strengthened.

Heinrich: /* Correcting by Changing the Embouchure Pressure & Adjusting Airflow */

2021-04-28T20:00:17Z

Correcting by Changing the Embouchure Pressure & Adjusting Airflow

← Nächstältere Version		Version vom 28. April 2021, 22:00 Uhr
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	<br>		<br>
	[[Ernst Schlader#Wechselwirkung „Ansatz – Stütze – Luftführung“\|Ernst Schlader]]: As a matter of principle, the air should always flow quickly to the mouthpiece. There, the embouchure can be made wider (the intonation becomes somewhat lower) or narrower (somewhat higher). The technique for avoiding any loss of sound quality is hard to verbalize. What remains is implicit learning, supported by a lot of interaction, demonstration by the teacher, and work with the tuner, where the musician plays triads in pure thirds or sixths, using tuner sound as a reference tone.		[[Ernst Schlader#Wechselwirkung „Ansatz – Stütze – Luftführung“\|Ernst Schlader]]: As a matter of principle, the air should always flow quickly to the mouthpiece. There, the embouchure can be made wider (the intonation becomes somewhat lower) or narrower (somewhat higher). The technique for avoiding any loss of sound quality is hard to verbalize. What remains is implicit learning, supported by a lot of interaction, demonstration by the teacher, and work with the tuner, where the musician plays triads in pure thirds or sixths, using tuner sound as a reference tone.
	===Correcting by Activating the Mouth Floor Muscles===[[Datei:Int Übg gliss.png\|mini\|rechts\|x200px\|Intonation exercise: glissando from 4th to 3rd with reference tone]]		===Correcting by Activating the Mouth Floor Muscles===
			[[Datei:Int Übg gliss.png\|mini\|rechts\|x200px\|Intonation exercise: glissando from 4th to 3rd with reference tone]]
	In addition to the fine corrections to intonation through "inner singing" with its attendant – and automatic – change in the position of the larynx, [[Heinrich Mätzener#Aktivieren der Glottis, «mitsingen»\|Heinrich Mätzener]] recommends exercising the mouth floor muscles. Activating the mouth floor muscles while maintaining a stable embouchure and a relatively static position for both jaw and tongue – the tip of the tongue remaining close to the tip of the reed – produces a glissando which can change the pitch down by a semitone. Importantly, the tone color should not change, and no pressure should be applied to the larynx. On the contrary, the throat opens. This is not the same technique as in jazz glissando, where the starting position is also relaxed. The feeling of pulling down the bottom of the mouth is well-known in everyday life through the covert yawn; clarinetists have only to exhale instead of inhaling.		In addition to the fine corrections to intonation through "inner singing" with its attendant – and automatic – change in the position of the larynx, [[Heinrich Mätzener#Aktivieren der Glottis, «mitsingen»\|Heinrich Mätzener]] recommends exercising the mouth floor muscles. Activating the mouth floor muscles while maintaining a stable embouchure and a relatively static position for both jaw and tongue – the tip of the tongue remaining close to the tip of the reed – produces a glissando which can change the pitch down by a semitone. Importantly, the tone color should not change, and no pressure should be applied to the larynx. On the contrary, the throat opens. This is not the same technique as in jazz glissando, where the starting position is also relaxed. The feeling of pulling down the bottom of the mouth is well-known in everyday life through the covert yawn; clarinetists have only to exhale instead of inhaling.

Heinrich: /* Correcting by Changing the Embouchure Pressure & Adjusting Airflow */

2021-04-28T19:59:42Z

Correcting by Changing the Embouchure Pressure & Adjusting Airflow

← Nächstältere Version		Version vom 28. April 2021, 21:59 Uhr
Zeile 92:		Zeile 92:
	[[Frédéric Rapin #Mâchoire stable - gorge, voyelle et glotte flexibles\|Frédéric Rapin]] attaches great importance to the "availability" of the larynx and glottis, and to voicing – for the purpose of correcting intonation – as well as to the fact that the embouchure and airflow remain as a stable unit.		[[Frédéric Rapin #Mâchoire stable - gorge, voyelle et glotte flexibles\|Frédéric Rapin]] attaches great importance to the "availability" of the larynx and glottis, and to voicing – for the purpose of correcting intonation – as well as to the fact that the embouchure and airflow remain as a stable unit.
	==Correcting by Changing the Embouchure Pressure & Adjusting Airflow==		==Correcting by Changing the Embouchure Pressure & Adjusting Airflow==
	[[Gerald Kraxberger#Musculus masseter contra Musculus orbicularis oris\|Gerald Kraxberger]] makes sure to create the necessary embouchure pressure with the lip muscles ([[Embouchure#Muscle activations and its Functions\|Musculus orbicularis oris) and not with the jaw muscles ([[~~Embouchuree~~#Embouchure Pressure\|Musculus masseter]]). This is best practiced using only the barrel and mouthpiece, since the differences in pitch are very clearly perceptible here. If a downward correction of intonation is necessary, [[Seunghee Lee#Techniques to change the pitch\|Seunghee Lee]] and [[Thomas Piercy#Intonation\|Thomas Piercy]] lighten the pressure on the reed. At the same time as the embouchure is loosened, the airflow and support must be adjusted and strengthened.		[[Gerald Kraxberger#Musculus masseter contra Musculus orbicularis oris\|Gerald Kraxberger]] makes sure to create the necessary embouchure pressure with the lip muscles ([[Embouchure#Muscle activations and its Functions\|Musculus orbicularis oris) and not with the jaw muscles ([[Embouchure#Embouchure Pressure\|Musculus masseter]]). This is best practiced using only the barrel and mouthpiece, since the differences in pitch are very clearly perceptible here. If a downward correction of intonation is necessary, [[Seunghee Lee#Techniques to change the pitch\|Seunghee Lee]] and [[Thomas Piercy#Intonation\|Thomas Piercy]] lighten the pressure on the reed. At the same time as the embouchure is loosened, the airflow and support must be adjusted and strengthened.
	<br>		<br>
	[[Milan Rericha#Intonation\|Milan Rericha]] always forms an oval with his lips, whether the pressure on the embouchure increases or decreases. When the embouchure is loosened, "the sound must be prevented from falling back into the throat and losing its shape."		[[Milan Rericha#Intonation\|Milan Rericha]] always forms an oval with his lips, whether the pressure on the embouchure increases or decreases. When the embouchure is loosened, "the sound must be prevented from falling back into the throat and losing its shape."
Zeile 99:		Zeile 99:
	===Correcting by Activating the Mouth Floor Muscles===[[Datei:Int Übg gliss.png\|mini\|rechts\|x200px\|Intonation exercise: glissando from 4th to 3rd with reference tone]]		===Correcting by Activating the Mouth Floor Muscles===[[Datei:Int Übg gliss.png\|mini\|rechts\|x200px\|Intonation exercise: glissando from 4th to 3rd with reference tone]]
	In addition to the fine corrections to intonation through "inner singing" with its attendant – and automatic – change in the position of the larynx, [[Heinrich Mätzener#Aktivieren der Glottis, «mitsingen»\|Heinrich Mätzener]] recommends exercising the mouth floor muscles. Activating the mouth floor muscles while maintaining a stable embouchure and a relatively static position for both jaw and tongue – the tip of the tongue remaining close to the tip of the reed – produces a glissando which can change the pitch down by a semitone. Importantly, the tone color should not change, and no pressure should be applied to the larynx. On the contrary, the throat opens. This is not the same technique as in jazz glissando, where the starting position is also relaxed. The feeling of pulling down the bottom of the mouth is well-known in everyday life through the covert yawn; clarinetists have only to exhale instead of inhaling.		In addition to the fine corrections to intonation through "inner singing" with its attendant – and automatic – change in the position of the larynx, [[Heinrich Mätzener#Aktivieren der Glottis, «mitsingen»\|Heinrich Mätzener]] recommends exercising the mouth floor muscles. Activating the mouth floor muscles while maintaining a stable embouchure and a relatively static position for both jaw and tongue – the tip of the tongue remaining close to the tip of the reed – produces a glissando which can change the pitch down by a semitone. Importantly, the tone color should not change, and no pressure should be applied to the larynx. On the contrary, the throat opens. This is not the same technique as in jazz glissando, where the starting position is also relaxed. The feeling of pulling down the bottom of the mouth is well-known in everyday life through the covert yawn; clarinetists have only to exhale instead of inhaling.

			[[Kategorie:Fundamentals, English]]

	==Attempt at Interpretation==		==Attempt at Interpretation==
	[[Datei: Bernoulli - Venturi.png\|links\|x250px\|mini\|[https://www.tec-science.com/wp-content/uploads/2020/06/de-gase-fluessigkeiten-stroemungsmechanik-bernoulli-venturi-effekt-rohr-reduzierstueck.mp4 Bernoulli - Venturi. Bernoulli - Venturi. Increasing the air flow by decreasing the diameter. Video: tec-science]]]		[[Datei: Bernoulli - Venturi.png\|links\|x250px\|mini\|[https://www.tec-science.com/wp-content/uploads/2020/06/de-gase-fluessigkeiten-stroemungsmechanik-bernoulli-venturi-effekt-rohr-reduzierstueck.mp4 Bernoulli - Venturi. Bernoulli - Venturi. Increasing the air flow by decreasing the diameter. Video: tec-science]]]

Heinrich: /* Correcting with Voicing and Tongue Position */

2021-04-28T19:59:10Z

Correcting with Voicing and Tongue Position

← Nächstältere Version		Version vom 28. April 2021, 21:59 Uhr
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	[[Eli Eban# Proprioseption\|Eli Eban]] points out that different positions of the tongue must be remembered by the ear. Accurately perceiving one’s own tongue position is more difficult than recalling different positions of the arms or hands, where several of the joints have receptors for proprioception. This is not the case with the tongue.		[[Eli Eban# Proprioseption\|Eli Eban]] points out that different positions of the tongue must be remembered by the ear. Accurately perceiving one’s own tongue position is more difficult than recalling different positions of the arms or hands, where several of the joints have receptors for proprioception. This is not the case with the tongue.
	<br>		<br>
	[[Heinrich Mätzener#Ansatz und Vokalformung\|Heinrich Mätzener]] recommends playing single notes with double-lip embouchure to become aware of the different positions of the tongue and throat opening, combined with a lowering of the floor of the mouth. The movement resembles a concealed yawn, in which the oral cavity is enlarged without opening the jaw. These constellations – tip of the tongue high, throat open, floor of the mouth deep – can also be transferred to the normal embouchure, which should also remain completely stable. In this way one does not experience any loss of tone color (see [[Embouchure#Increased Air Speed in the Area of the Reed Tip\|increased air speed in the area of the tip of ~~the reed~~).		[[Heinrich Mätzener#Ansatz und Vokalformung\|Heinrich Mätzener]] recommends playing single notes with double-lip embouchure to become aware of the different positions of the tongue and throat opening, combined with a lowering of the floor of the mouth. The movement resembles a concealed yawn, in which the oral cavity is enlarged without opening the jaw. These constellations – tip of the tongue high, throat open, floor of the mouth deep – can also be transferred to the normal embouchure, which should also remain completely stable. In this way one does not experience any loss of tone color (see [[Embouchure#Increased Air Speed in the Area of the Reed Tip\|increased air speed in the area of the tip of ]]).
	<br>		<br>
	[[David Shifrin#Intonation\|David Shifrin]] follows this sequence: first he tries to find the intonation with the correct "voicing." If necessary, he also uses special fingerings, which can vary depending on the instrument. An important criterion when buying an instrument is the intonation of the twelfths, especially in the upper clarinet register.		[[David Shifrin#Intonation\|David Shifrin]] follows this sequence: first he tries to find the intonation with the correct "voicing." If necessary, he also uses special fingerings, which can vary depending on the instrument. An important criterion when buying an instrument is the intonation of the twelfths, especially in the upper clarinet register.

Heinrich: /* Correcting with Voicing and Tongue Position */

2021-04-28T19:58:38Z

Correcting with Voicing and Tongue Position

← Nächstältere Version		Version vom 28. April 2021, 21:58 Uhr
Zeile 79:		Zeile 79:
	[[Eli Eban# Proprioseption\|Eli Eban]] points out that different positions of the tongue must be remembered by the ear. Accurately perceiving one’s own tongue position is more difficult than recalling different positions of the arms or hands, where several of the joints have receptors for proprioception. This is not the case with the tongue.		[[Eli Eban# Proprioseption\|Eli Eban]] points out that different positions of the tongue must be remembered by the ear. Accurately perceiving one’s own tongue position is more difficult than recalling different positions of the arms or hands, where several of the joints have receptors for proprioception. This is not the case with the tongue.
	<br>		<br>
	[[Heinrich Mätzener#Ansatz und Vokalformung\|Heinrich Mätzener]]recommends playing single notes with double-lip embouchure to become aware of the different positions of the tongue and throat opening, combined with a lowering of the floor of the mouth. The movement resembles a concealed yawn, in which the oral cavity is enlarged without opening the jaw. These constellations – tip of the tongue high, throat open, floor of the mouth deep – can also be transferred to the normal embouchure, which should also remain completely stable. In this way one does not experience any loss of tone color (see [[Embouchure#Increased Air Speed in the Area of the Reed Tip\|increased air speed in the area of the tip of the reed).		[[Heinrich Mätzener#Ansatz und Vokalformung\|Heinrich Mätzener]] recommends playing single notes with double-lip embouchure to become aware of the different positions of the tongue and throat opening, combined with a lowering of the floor of the mouth. The movement resembles a concealed yawn, in which the oral cavity is enlarged without opening the jaw. These constellations – tip of the tongue high, throat open, floor of the mouth deep – can also be transferred to the normal embouchure, which should also remain completely stable. In this way one does not experience any loss of tone color (see [[Embouchure#Increased Air Speed in the Area of the Reed Tip\|increased air speed in the area of the tip of the reed).
	<br>		<br>
	[[David Shifrin#Intonation\|David Shifrin]] follows this sequence: first he tries to find the intonation with the correct "voicing." If necessary, he also uses special fingerings, which can vary depending on the instrument. An important criterion when buying an instrument is the intonation of the twelfths, especially in the upper clarinet register.		[[David Shifrin#Intonation\|David Shifrin]] follows this sequence: first he tries to find the intonation with the correct "voicing." If necessary, he also uses special fingerings, which can vary depending on the instrument. An important criterion when buying an instrument is the intonation of the twelfths, especially in the upper clarinet register.

			[[Kategorie:Fundamentals, English]]

	==Correcting with a Flexible Embouchure Line==		==Correcting with a Flexible Embouchure Line==
	In a video with Ira Jay Weinstein, [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] demonstrates the technique of the flexible embouchure line: for slightly higher intonation, or to prevent the pitch from dropping during a crescendo, the mouthpiece may be taken a little further into the mouth. This is controlled by the right thumb, which leads the instrument towards the embouchure. The jaw position remains basically stable. Playing with an embouchure line right at the tip lowers the intonation, which can be useful in extremely quiet places. [[James Campbell#Intonation\|James Campbell]], [[Richard Stoltzman#Bringing the clarinet to the embouchure\|Richard Stoltzman]], [[John Moses# Play with a flexible embouchure-line\|John Moses]] and [[Heinrich Mätzener#Haltearbeit und Ansatzlinie\|Heinrich Mätzener]] also use this technique. As a further possibility, and in combination with a flexible embouchure line, Heinrich Mätzener and [[Harri Mäki# Angle clarinet / body\|Harri Mäki]] also recommend working with the blowing angle. For an upward correction of intonation, especially towards the climax of a phrase, the clarinet can also be brought closer to the body with a somewhat lower embouchure line.		In a video with Ira Jay Weinstein, [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] demonstrates the technique of the flexible embouchure line: for slightly higher intonation, or to prevent the pitch from dropping during a crescendo, the mouthpiece may be taken a little further into the mouth. This is controlled by the right thumb, which leads the instrument towards the embouchure. The jaw position remains basically stable. Playing with an embouchure line right at the tip lowers the intonation, which can be useful in extremely quiet places. [[James Campbell#Intonation\|James Campbell]], [[Richard Stoltzman#Bringing the clarinet to the embouchure\|Richard Stoltzman]], [[John Moses# Play with a flexible embouchure-line\|John Moses]] and [[Heinrich Mätzener#Haltearbeit und Ansatzlinie\|Heinrich Mätzener]] also use this technique. As a further possibility, and in combination with a flexible embouchure line, Heinrich Mätzener and [[Harri Mäki# Angle clarinet / body\|Harri Mäki]] also recommend working with the blowing angle. For an upward correction of intonation, especially towards the climax of a phrase, the clarinet can also be brought closer to the body with a somewhat lower embouchure line.

Heinrich: /* Technical Know-How */

2021-04-28T19:58:13Z

Technical Know-How

← Nächstältere Version		Version vom 28. April 2021, 21:58 Uhr
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	To learn to play in equal intonation, [[Alain Billard#L’Intonation\|Alain Billard]] works with the visual cue of the tuner. He finds it makes sense to first listen to a tone and play it, and only then to check the result visually with the tuner. For ear training, Billard also uses this method to play quarter-tone scales.		To learn to play in equal intonation, [[Alain Billard#L’Intonation\|Alain Billard]] works with the visual cue of the tuner. He finds it makes sense to first listen to a tone and play it, and only then to check the result visually with the tuner. For ear training, Billard also uses this method to play quarter-tone scales.
	=Technical Know-How=		=Technical Know-How=
	[François Benda#Vier Segmente der Grundtechnik\|François Benda]] cites well-established air flow, air pressure, and breath support as the first prerequisite for achieving a flexible intonation. It is also worth becoming familiar with the differences between the German and French systems. The wider the bore of the upper part of the instrument – this varies between 15.2 mm on the Viennese clarinet and 14.65 mm on French clarinets – the more one has to work with [[https://en.wikipedia.org/wiki/Formant formants]], to avoid being too high in the upper clarinet register.		[[François Benda#Vier Segmente der Grundtechnik\|François Benda]] cites well-established air flow, air pressure, and breath support as the first prerequisite for achieving a flexible intonation. It is also worth becoming familiar with the differences between the German and French systems. The wider the bore of the upper part of the instrument – this varies between 15.2 mm on the Viennese clarinet and 14.65 mm on French clarinets – the more one has to work with [[https://en.wikipedia.org/wiki/Formant formants]], to avoid being too high in the upper clarinet register.
	==Correcting with Voicing and Tongue Position==		==Correcting with Voicing and Tongue Position==
	[[James Campbell#Intonation\|James Campbell]] uses a slightly higher tongue position to correct the intonation upwards and a slightly lower tongue position for a downward correction, whereby the floor of the mouth is lowered slightly while the jaw remains in the same position. If the jaw position is opened to play a little lower, the tip of the tongue should be aligned in a higher position to maintain the air speed prevent the sound from losing focus.		[[James Campbell#Intonation\|James Campbell]] uses a slightly higher tongue position to correct the intonation upwards and a slightly lower tongue position for a downward correction, whereby the floor of the mouth is lowered slightly while the jaw remains in the same position. If the jaw position is opened to play a little lower, the tip of the tongue should be aligned in a higher position to maintain the air speed prevent the sound from losing focus.
Zeile 106:		Zeile 106:
	[[Michel Arrignon#Intonation\|Michel Arrignon]] primarily uses special fingerings to correct intonation. Additionally, he uses lighter or darker voicings and different reed positions. [Thomas Piercy#Intonation\|Thomas Piercy]] uses different fingerings to change the timbre, which he finds allows the intonation to remain unchanged.		[[Michel Arrignon#Intonation\|Michel Arrignon]] primarily uses special fingerings to correct intonation. Additionally, he uses lighter or darker voicings and different reed positions. [Thomas Piercy#Intonation\|Thomas Piercy]] uses different fingerings to change the timbre, which he finds allows the intonation to remain unchanged.
	[[Ernst Schlader #Intonation\|Ernst Schlader]] observes that using fingering to correct intonation is more common in the German system, whereas the French system tends to rely on voicing and flexibility of the embouchure.		[[Ernst Schlader #Intonation\|Ernst Schlader]] observes that using fingering to correct intonation is more common in the German system, whereas the French system tends to rely on voicing and flexibility of the embouchure.

			[[Kategorie:Fundamentals, English]]

	=Different Mouthpieces=		=Different Mouthpieces=
	[[Datei: Andreas Schöni.png\|mini\|links\|x400px\|AAndreas Schöni: Sketch of different mouthpieces and barrels]]		[[Datei: Andreas Schöni.png\|mini\|links\|x400px\|AAndreas Schöni: Sketch of different mouthpieces and barrels]]

Heinrich: /* Das Gehör schulen */

2021-04-28T19:57:45Z

Das Gehör schulen

← Nächstältere Version		Version vom 28. April 2021, 21:57 Uhr
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	*[[Jérôme Verhaeghe#Intonation\|Jérôme Verhaeghe]]		*[[Jérôme Verhaeghe#Intonation\|Jérôme Verhaeghe]]
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	~~==Das Gehör schulen==~~
	~~Für~~ [[~~James Campbell#Intonation\|James Campbell~~]]
			[[Kategorie:Fundamentals, English]]

	=Ear Training=		=Ear Training=

Heinrich am 28. April 2021 um 19:57 Uhr

2021-04-28T19:57:28Z

← Nächstältere Version		Version vom 28. April 2021, 21:57 Uhr
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	In contrast to Carl Baermann, Johann Georg Heinrich Backofen worked with intonation corrections by modifying ("an embouchure that is used to flexibility") the embouchure and blowing style.		In contrast to Carl Baermann, Johann Georg Heinrich Backofen worked with intonation corrections by modifying ("an embouchure that is used to flexibility") the embouchure and blowing style.
	==Carl Baermann==		==Carl Baermann==
	For years, Carl Baermann concerned himself with the problems of intonation and with the difficulties of the fingering system. He worked intensively with the instrument maker Benedikt Pentenrieder, a collaboration which he continued with Georg Ottensteiner. In 1860 they presented an instrument in Munich, which showed great improvements in fingering and intonation (see [http://collections.nmmusd.org/Clarinets/Ottensteiner/Ottensteinerclarinets.html Ottensteiner Clarinet]). In contrast to developments in Paris, where [https://en.wikipedia.org/wiki/Hyacinthe_Klosé] and [https://en.wikipedia.org/wiki/Buffet_family Auguste Buffet] introduced the Boehm clarinet in 1839, the bore of the Baermann-Ottensteiner instrument remained largely cylindrical along its entire length. Ottensteiner also continued to use boxwood. Thus, the tonal character of the instruments of the classical epoch remained almost unchanged (see also [http://www.sfoxclarinets.com/basycl_art.htm Stephen Fox, Mühlfeld's Clarinet]). Carl Baermann wrote in 1861 in his clarinet method<ref name=Baermann>Carl Baermann: ''Vollständige Clarinett-Schule: von dem ersten Anfang bis zur höchsten Ausbildung des Virtuosen; Erster Theil Op.63''. Johann André, Offenbach/Main 1861. [http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10497275-1 Bayerische Staatsbibliothekdigital]~~{{04.28.2001}}~~</ref>:		For years, Carl Baermann concerned himself with the problems of intonation and with the difficulties of the fingering system. He worked intensively with the instrument maker Benedikt Pentenrieder, a collaboration which he continued with Georg Ottensteiner. In 1860 they presented an instrument in Munich, which showed great improvements in fingering and intonation (see [http://collections.nmmusd.org/Clarinets/Ottensteiner/Ottensteinerclarinets.html Ottensteiner Clarinet]). In contrast to developments in Paris, where [https://en.wikipedia.org/wiki/Hyacinthe_Klosé] and [https://en.wikipedia.org/wiki/Buffet_family Auguste Buffet] introduced the Boehm clarinet in 1839, the bore of the Baermann-Ottensteiner instrument remained largely cylindrical along its entire length. Ottensteiner also continued to use boxwood. Thus, the tonal character of the instruments of the classical epoch remained almost unchanged (see also [http://www.sfoxclarinets.com/basycl_art.htm Stephen Fox, Mühlfeld's Clarinet]). Carl Baermann wrote in 1861 in his clarinet method<ref name=Baermann>Carl Baermann: ''Vollständige Clarinett-Schule: von dem ersten Anfang bis zur höchsten Ausbildung des Virtuosen; Erster Theil Op.63''. Johann André, Offenbach/Main 1861. [http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10497275-1 Bayerische Staatsbibliothekdigital]</ref>:
	{{Zitat		{{Zitat
	\| Text = Da die Clarinette, nicht wie alle übrigen Instrumente in die Oktave, sondern in die Duodecim springt, so ist es viel schwieriger, ein rein gestimmtes Instrument zu erhalten, denn die Clarinette hat genaugenommen, für jeden Ton einen besonderen Griff, und aus ein und demselben Tonloch kommen 3-4 gänzlich verschiedene Töne.		\| Text = Da die Clarinette, nicht wie alle übrigen Instrumente in die Oktave, sondern in die Duodecim springt, so ist es viel schwieriger, ein rein gestimmtes Instrument zu erhalten, denn die Clarinette hat genaugenommen, für jeden Ton einen besonderen Griff, und aus ein und demselben Tonloch kommen 3-4 gänzlich verschiedene Töne.
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	In addition to a detailed fingering chart with many alternative fingerings, Baermann mentions pulling out the bulb as a means of correcting intonation. If the bore in the upper middle section is changed, the range of the twelfth can become too narrow. This can be remedied by carefully reaming the inner bore. Baermann does not discuss adjustments to embouchure and airflow as means of correcting intonation.		In addition to a detailed fingering chart with many alternative fingerings, Baermann mentions pulling out the bulb as a means of correcting intonation. If the bore in the upper middle section is changed, the range of the twelfth can become too narrow. This can be remedied by carefully reaming the inner bore. Baermann does not discuss adjustments to embouchure and airflow as means of correcting intonation.

	~~[[Kategorie:Fundamentals, English]]~~

	==Frédéric Berr==		==Frédéric Berr==
	Berr addresses intonation in the context of orchestral practice. He recommends playing flexibly – particularly when playing with bassoon and flute – and being willing to accommodate other instrumentalists in case of intonation problems. For the note g<sup>1</sup> he demonstrates four different fingering possibilities for correcting intonation.		Berr addresses intonation in the context of orchestral practice. He recommends playing flexibly – particularly when playing with bassoon and flute – and being willing to accommodate other instrumentalists in case of intonation problems. For the note g<sup>1</sup> he demonstrates four different fingering possibilities for correcting intonation.