Chung Junwoo A lot of jazz cannot be tuned unless you seriously know what you're doing (I mean extended 7-limit just intonation). Don't worry about intonation unless you're tuning simple intervals like a unison, octave, perfect fifth, or a major 9th/16th etc (and their inversions of course). Major and minor thirds/sixths are poorly approximated in 12TET so u really have to know what you're doing to tune them properly.
Yes. Had a college professor tell us all to use a piano a “few times a day” hitting a ‘middle C.’ Of course this was waaaay before smartphones , iPads , fancy tech gadgets since this was the 1980’s 👴🏻
Good Observation Andreas! Nobody good plays Equal Temperament anywhere, Yet "pure intonation" is a deceptive description. If you are asking for "Just Intonation" or better yet; "True Intonation" then you really need to work with another player (since clarinets can not play double stops). This way you can learn to adjust "on the fly". You will also need to understand the sound of Major and Minor seimi-tones. ie: the difference between C# and D-flat, for instance. Another Point to take away from this "LL" (lame lesson) is not to look at a meter when checking intonation. Buy a True Tuning meter and not one set to ET then have another player write down your pitch variations while you play. Have this other musician note the difference between "fresh air" in the lungs and "old air". This will also affect intonation. And. . . Stay curious.
Unfortunately professional orchestras tend to play a false version of pure intonation. They do adjust their tuning to avoid acoustic beating; however, professional ensembles tend to base their tuning adjustment on the equal tempered root note of a chord, which often requires musicians to alter the tuning of a note through a chord change. Tuning chords from 12TET to Just Intonation by ear can be a messy situation in some instances. Here's one example: I'm in C Major I start with a CM triad Then there's a transition to an EbM chord C E -14 G +2 (cents) …… Eb G Bb This isn't even the worst of examples, but the point is, how could the players know whether to lower the G or raise the Eb without looking at the score? They couldn't. There are too many components. This gets a lot harder when the chords get messier, and it ends up that the only way to tune chords efficiently is by having some guy, with experience and a knowledge of rational tuning, dig through the score and calculate all the tuning adjustments required by musicians.
Nice discipline to constantly play the notes and listen. First of all, one should not be looking at a meter when blowing the note and would do significantly better extracting it from a phrase "on-the-fly". Secondly, new air has a different density: thus pitch than old air. Thirdly, I can not see the reason to use Equal Temperament (ET) devices to check pitch. ET is wrong: There is NOT ONE wind, string or choral ensemble known to man that performs at ET. It is very sad when wind instrument manufacturers use ET as a reference when designing and testing. Somehow they do not seem to see the fallacy in this. It would allow you, however, to perform equally out-of-tune with pianos that are still poorly tuned this way. We have known for over 50yrs now that pianos can be tuned to produce all genuine intervals in all 24 major and minor keys using no temperament. We need to get up-to-date with this important skill.
Dennis Dougherty I think perhaps he’s trying to just train consistency of intonation. With this control, he can play/adjust for pure temperament and the inconsistencies of other players.
Dennis Dougherty Adaptive just intonation can be achieved by bending your pitch on-the-go, but equal temperament is always used as a reference in modern orchestras for fixed-pitch instruments like clarinet. This video is more focused on getting used to the muscle memory of the embouchure that will achieve that equal-tempered reference point. When tuning a chord, it is best to start off with a position from muscle-memory, so you can at least get close to where you should be, and then tune the chord by ear as necessary. For example, in a chord change from C major to E major, the C major chord's third (E) would need to be lowered, but then, as the transition to E major occurs, the E should naturally raise back to its equal tempered position and the G# should be lowered. Chord progressions like I-III-#V-#VII (I) or I-IV-ii-V-I aren't possible without such methods of adaptive just intonation. 12-note instruments can't play perfect just intonation without "drifting".
your tone is so satisfying lol
each note is so beautiful.
Fantástico vídeo!!!
ooh... yeah I can see how this could help... I'm a student studying jazz,
but think I'll work this into my daily schedule for sure!
Chung Junwoo A lot of jazz cannot be tuned unless you seriously know what you're doing (I mean extended 7-limit just intonation). Don't worry about intonation unless you're tuning simple intervals like a unison, octave, perfect fifth, or a major 9th/16th etc (and their inversions of course). Major and minor thirds/sixths are poorly approximated in 12TET so u really have to know what you're doing to tune them properly.
Yes. Had a college professor tell us all to use a piano a “few times a day” hitting a ‘middle C.’ Of course this was waaaay before smartphones , iPads , fancy tech gadgets since this was the 1980’s 👴🏻
He was using tactson tuner app itunes.apple.com/au/app/tactson-tuner-master/id463770873?mt=8
Cuales son las aplicaciones que usas en este video me interesa adquirirlas para mi estudio personal gracias por la informacion.
Which ipad tuning apps are you using?
I don't know what he's using here but now I know he uses tonal energy
This is tuning to equal temperament. Do you practice also pure intonation? And how?
Good Observation Andreas! Nobody good plays Equal Temperament anywhere, Yet "pure intonation" is a deceptive description. If you are asking for "Just Intonation" or better yet; "True Intonation" then you really need to work with another player (since clarinets can not play double stops). This way you can learn to adjust "on the fly". You will also need to understand the sound of Major and Minor seimi-tones. ie: the difference between C# and D-flat, for instance. Another Point to take away from this "LL" (lame lesson) is not to look at a meter when checking intonation. Buy a True Tuning meter and not one set to ET then have another player write down your pitch variations while you play. Have this other musician note the difference between "fresh air" in the lungs and "old air". This will also affect intonation. And. . . Stay curious.
Unfortunately professional orchestras tend to play a false version of pure intonation. They do adjust their tuning to avoid acoustic beating; however, professional ensembles tend to base their tuning adjustment on the equal tempered root note of a chord, which often requires musicians to alter the tuning of a note through a chord change. Tuning chords from 12TET to Just Intonation by ear can be a messy situation in some instances. Here's one example:
I'm in C Major
I start with a CM triad
Then there's a transition to an EbM chord
C E -14 G +2 (cents) ……
Eb G Bb
This isn't even the worst of examples, but the point is, how could the players know whether to lower the G or raise the Eb without looking at the score? They couldn't. There are too many components. This gets a lot harder when the chords get messier, and it ends up that the only way to tune chords efficiently is by having some guy, with experience and a knowledge of rational tuning, dig through the score and calculate all the tuning adjustments required by musicians.
what apps did he use?
I don't know what he's using here but now I know he uses tonal energy
Nice discipline to constantly play the notes and listen. First of all, one should not be looking at a meter when blowing the note and would do significantly better extracting it from a phrase "on-the-fly". Secondly, new air has a different density: thus pitch than old air. Thirdly, I can not see the reason to use Equal Temperament (ET) devices to check pitch. ET is wrong: There is NOT ONE wind, string or choral ensemble known to man that performs at ET. It is very sad when wind instrument manufacturers use ET as a reference when designing and testing. Somehow they do not seem to see the fallacy in this. It would allow you, however, to perform equally out-of-tune with pianos that are still poorly tuned this way. We have known for over 50yrs now that pianos can be tuned to produce all genuine intervals in all 24 major and minor keys using no temperament. We need to get up-to-date with this important skill.
Dennis Dougherty I think perhaps he’s trying to just train consistency of intonation. With this control, he can play/adjust for pure temperament and the inconsistencies of other players.
Dennis Dougherty Adaptive just intonation can be achieved by bending your pitch on-the-go, but equal temperament is always used as a reference in modern orchestras for fixed-pitch instruments like clarinet. This video is more focused on getting used to the muscle memory of the embouchure that will achieve that equal-tempered reference point. When tuning a chord, it is best to start off with a position from muscle-memory, so you can at least get close to where you should be, and then tune the chord by ear as necessary. For example, in a chord change from C major to E major, the C major chord's third (E) would need to be lowered, but then, as the transition to E major occurs, the E should naturally raise back to its equal tempered position and the G# should be lowered. Chord progressions like I-III-#V-#VII (I) or I-IV-ii-V-I aren't possible without such methods of adaptive just intonation. 12-note instruments can't play perfect just intonation without "drifting".
Constantly playing is dependent on hearing， not looking.