Advanced Intonation Technique For Clarinets

Advanced Intonation
Technique
For Clarinets
A Method for Intonation
Improvement
For Bb and A Soprano, Eb Soprano, and Bass Clarinets
By John Gibson
Includes intonation facts, playing exercises, and a separately

purchased MP3 audio file with clarinet sound tuning tones,
and two bonus tracks with accompaniments to test your
intonation skills
JB Linear Music
(Revised Edition, 2015)
Sheet Music Plus Order 2007792083. 1 copy purchased by giammarcocasani@gmail.com on Feb 21, 2018.
Advanced Tuning
Technique for
Clarinets
(revised edition, 2015)

John Gibson
JB Linear Music
Table of Contents
Introduction
Introductory Notes i
Using the Intonation Exercises iv
Frequently Asked Questions viii
Other Helpful Hints and Observations xiii
Suggested Reading and Other Resources xiv
Exercises
Basic Tuning (Track 1 – 3: Tuning Notes) 1
Track 4 (00:02:38) – Long tones
A. Major chords 1
B. Minor chords 4
C. 12ths 6
D. Quick Adjustments 7
E. Scales in all keys 11
Track 5 (00:15:20) – Short reference tones
A. Repeated notes 13
B. Arpeggios 15
Track 6 (00:25:52) - Tuning to 5ths
A. Octave, 5th, minor 3rd, major 3rd 16
th th th
B. Octave, 5 , major 6 , minor 7 19
Track 7 (00:40:06) – Tuning to 5ths for Eb Soprano Clarinet
th th th
Track 8 (00:54:22) – Tuning to 5ths for Bb Bass Clarinet
th th th
Bonus music – interesting tuning challenges (Saint Saens Clarinet

Sonata, 3rd Movement – Track 9 {01:08:39} and excerpt from
Mendelssohn’s A Midsummer Night’s Dream – Track 10 {01:12:32})
Advanced Tuning Technique
For Clarinets
Introductory Notes
Why This Method?
“…anyone’s musical ear can be improved through careful listening and study.
Clarinetists must continually strive for greater accuracy of pitch, and the key tool
for that task is a thorough training of the ear.” David Pino, The Clarinet and
Clarinet Playing
As most wind instrument players, I alternately enjoy and struggle with trying to play in
tune with my fellow musicians. It interests me to find that intonation changes sometimes
very quickly within a piece of music depending on the harmony and with whom I am
playing at the time. It even makes a difference who composed the music as to how hard
it is to play in tune. Why would any of that be? This method and accompanying audio
files are a way not only to learn to tune in Equal or Just Intonation as explained later, but
to sensitize one’s ears for the flexibility of playing in tune in all situations.
A person who found himself the center of a riot in Los Angeles asked, “Can we all get
along?” The answer in wind playing seems to be, “Well, we can try, but it is hard to do
with so much set against us”. Our instruments are at best studied compromises of
intonation. Even piano tuning is a compromise and varies from what our ears and
physical science sense to be correct. Each person has a different ability to hear intonation
although by using a method such as this, that can be improved greatly. In a musical
ensemble it is a cooperative effort, but not everyone is always willing to bend their
concept of what is “right”.
Basics of Intonation
It is much easier to recognize a pure interval than it is to explain it, so these introductory
notes are short. The best way to improve your hearing of intonation is to spend time
listening and playing. FEEL FREE TO SKIP THESE INTRODUCTORY NOTES AND
GET RIGHT TO PLAYING!
There are two systems of tuning on which we will work: Equal Temperament and Just
Intonation.
 Equal Temperament - When composers began to write music in more keys, they ran
into trouble because the further they went from the basic keys, the more out of tune
the music got. The solution for keyboard instruments was to divide the octave into
twelve equally spaced intervals. By doing this, all keys could be played, although
they were all equally slightly out of tune with the natural scales our ears settle upon.
Electronic tuners are set to Equal Temperament as well. Wind instruments are made
to approximate Equal Temperament, and it is the only reasonable standard for
melodic playing. But it is not enough, the ear being the final authority. We need…..
 Just Intonation - This is what our ears hear to be correct beatless intervals when
playing together with other players. Beats are the pulsations we hear when two notes
are out of tune. The slower the beats, the more in tune the interval is. The faster the
beats, the less in tune it is. When there are no beats, the interval is exactly in tune.
Here is a chart showing the difference between Equal tuning and Just tuning for
intervals compared to the lowest note (C in this example).
Note Name Interval EQUAL (distance from JUST (difference from

the 1st note in cents*) Equal in cents*)
C Unison 0 0
nd
C#/Db Minor 2 100 +12
nd
D Major 2 200 +4
D#/Eb Minor 3rd 300 +16
rd
E Major 3 400 -14
th
F Perfect 4 500 -2
th
F#/Gb Augmented 4 600 -10
G Perfect 5th 700 +2
th
G#/Ab Minor 6 800 +14
th
A Major 6 900 -16
A#/Bb Minor 7th 1000 +18
th
B Major 7 1100 -12
C Octave 1200 0
*Cents are the unit of measurement from one interval to another. An octave is 1200 cents,
and in Equal Temperament there are 100 cents between each note of the chromatic scale.
Electronic tuners are calibrated in cents. If you are 10% flat you are 10 cents lower than
the note being tuned.
Listen for the purity

and smoothness in Just
Tuned intervals and
chords
ii
What Sets This Intonation Method Apart?
This method composed of the tuning audio files (purchased separately) and the playing
exercises is specifically for the clarinet, including Eb soprano and bass clarinet. The
audio files use clarinet tones with which to compare your tones. They are computer
generated using the Garriton Personal Orchestra which is a unique set of sampled sounds
- sounds generated from carefully recorded clarinet tones. Because of this, you may hear
some small pulsing of the sound due to the complicated overtone structure of the clarinet
sound. However, the benefits from hearing rich clarinet tones are much greater than the
usual use of a simple sine-wave tuning sound found in the typical electronic tuner.
Another special item that works well with this package is the tuner pick-up. This device
clips gently to your instrument, plugs into the tuner input jack and picks up only the notes
you play without interference from outside sources. This means you can listen to the
audio file sounds while watching the tuner record your actual pitch. This allows you to
tune the intervals to Just intonation and see the effects of changing your pitch. It is better
to use your ears, but this visual reference is a great aid.
If used diligently, not only will you increase your ability to hear and play in tune, but you
will also get lots of long tone playing. Better tuning goes hand-in-hand with better
embouchure and better tone quality. It is a winning situation!
Two bonus audio files are included with this package with accompaniments for a
movement of Saint Saens Clarinet Sonata and an excerpt from Mendelssohn’s
Midsummer Nights Dream. Both present intonation challenges.
The Tuning Audio Files
The set of tuning audio files has 9 tracks. The first three tracks are long notes and major
chords with which to get your instrument basically in tune. These are in F, Bb, and A
concert (G, C, and B for Bb Clarinet) at the A 440 pitch standard.
Track 4 has long tones beginning on the Bb clarinet low E and going up chromatically. A
beat is provided for the exercises.
Track 5 has sets of short piano tones for ease of intonation comparison, also beginning on
low E and going up chromatically. A beat is provided for the exercises.
Track 6 is a chromatic scale including an interval of a Just tuned perfect fifth (the higher
note of the 5th is raised by 2 cents----a very small amount!).
Tracks 8 and 9 are the same as track 6, but for Eb soprano clarinet and bass clarinet
respectively.
iii
Using the audio file, tuner and tuner pick up
Set the volume for the audio file so you can clearly hear the differences between your
pitch and the audio file pitch. Using a headphone is helpful in a noisy environment and
others cannot hear the drones while you play.
Use the best audio player you can….some inexpensive ones play at a slightly different
pitch, but the audio files are recorded at A 440. If you want to play at a different pitch
standard than A 440, you can use computer software to raise or lower the general pitch.
A tuner with a needle type display is best for getting more detail. If you are using a tuner
pick up, your tuner needs to have an input jack.
A tuner pick up for wind instruments has a clip for attaching to your instrument. For
clarinet, attaching it to the bell works fine. This is a great device to have since you may
listen to your pitch relative to the audio files as well as seeing the effects of changes you
make on the tuner display. Some tuners even have the correct tuning for major and minor
thirds marked on their displays. It cannot be emphasized enough that the real purpose of
this method is to train your ears, and not your eyes, but the use of a tuner is helpful.
Using the Intonation Exercises

I. Tune Your Instrument – Audio File Tracks 1, 2, and 3
After warming up your instrument for about 10 minutes, use tracks 1, 2, and 3 to get the
basic intonation of your instrument in line. Each track provides 20 seconds of a single
pitch before changing to a full chord tuned in Just Intonation (lowered 3rd and raised 5th).
Adjust your clarinet until the beats disappear.
Remember that you can flatten the pitch by pulling out at the barrel, but that will effect
the throat tones E - Bb more than other notes. On some clarinets it is worthwhile to pull
out some at the middle joint which will lower low E - B (Chalumeau) and B – F# in the
upper (Clarion) range. Also remember that all things being equal, a harder reed will play
a bit sharper than a softer reed. See page xiii in this introduction for more clarinet hints.
iv
II. Tune with the Audio Files Through the Full Range – Track 4 (00:02:38)
Track 4 plays a slow 8 beats of each pitch from low E to altissimo Ab. There is a beat
provided and each note is in a 4/4 pattern of 3 measures: 1 measure of rest followed by 2
measures of a long tone. While using the exercises as written is most beneficial, don’t
forget to be inventive! Play anything you want as long as it helps you hear the intonation.
A. Track 4 The first exercise starts with the tone to match the audio, followed by a
major arpeggio. You always begin a beat before the tone on the MP3 so you can more
easily compare your pitch to the tone when it begins. This part of the exercise will help to
train you to “nail” the pitch consistently using Equal Temperament tuning. The rest of the
exercise allows you to hear the 3rd (lower by 14 cents) and the 5th (raise by 2 cents). If
you are playing an A clarinet, start on the written low F for the 1st tone on the MP3. For
Eb soprano, begin on the 6th note on the track. Bass Clarinet will play an octave lower
than sounded. Around the middle part of the exercise you will be playing an arpeggio that
will take you lower than the initial pitch. Continue to tune the 5th of the chord up 2 cents
and the 3rd of the chord down 14 cents.
B. Track 4 The second exercise is the same as the first, except using a minor chord for
the arpeggio. You will continue to tune the 5th up 2 cents, but the minor third should be
tuned up 16 cents.
C. Track 4 This is an exercise concentrating on the interval of a 12th, an octave plus a

5th. The clarinet has the distinction of being the only modern band/orchestra wind
instrument to overblow at the 12th rather than the octave. The lower tones of the clarinet
are often rich in the 3rd harmonic (the interval of a 12th), and especially so in the sound
used for this audio. If your low note is in tune and you can hear the 12th in the overtones,
then adding the register key should give you the same note. One of the many
compromises in making clarinets involves wide 12ths, so this is a good exercise for
learning to deal with whatever tendency your instrument may have. This exercise only
goes up to a throat tone E as the lowest note, but you may extend the range if you wish by
continuing on with the MP3.
D. Track 4 The same track, but concentrating on playing quicker notes in a major chord.
E. Track 4 For this exercise you will play all major scales and compare to the audio
drone. You may play this in two ways. One would be to tune each note in Equal
Temperament (checking with your tuner). Next tune using Just Intonation by getting the
beats out of the sound. A chart of the adjustments needed is included with the exercise.
This is a good place to be using a tuner pick up to isolate your pitch.
Also practice tuning all notes of your instrument using the tuner’s Equal Tempered
scale as well as justly tuned intervals. You need both skills!
II. Tune by Comparing Short Notes - Track 5 (00:15:20)
The tones on this track consist of three measures of 4/4 with a piano sound playing 4
short tones in the last two measures. Its purpose is to tune to equal tempered notes with a
piano using stretch tuning. For various reasons most pianos are tuned with the lowest
range tuned lower and the higher range stretched to higher than standard pitch. We just
have to adjust to it. Fortunately, the stretching is most noticeable in the very upper and
lower notes where most wind instruments do not play.
A. Track 5 In this exercise you will simply play each note first by yourself and then
compare it to the piano note on the next beat. Experiment with holding your note over a
little in order to get a more direct comparison. You may also play the 5th and octave as
noted. Adding a crescendo and decrescendo is a good idea. Remember that on clarinet the
softer you play, the higher the pitch tends to be and the reverse is true for playing louder.
Although this exercise can be played to the highest range of the clarinet, only play as
high as you can comfortably.
B. Track 5 This exercise allows you to play an interesting series of notes for comparison
to the piano notes played.
III. Tuning to the Interval of a 5th - Track 6 (00:25:52)
This may the most useful track for hearing beats caused by playing out of tune. A Just
Intonation (+2 cents) interval of a 5th is added to the lower note. Each note is played for
20 seconds, during which you may play various notes to hear the intonation. On the
exercises, you are shown the interval notes played on the audio, and then the exercise to
play after a double bar in the music.
For Eb soprano there is a separate track (#7) and exercise to use. Bass clarinet will use
its separate exercise and track #8.
A. Track 6 The first exercise concentrates on the root, octave, 5th, minor 3rd, and major
3rd. When you play the 3rds and 5ths you will be forming 3 note chords. Especially in the
higher notes, you should hear very clearly “extra” notes in the chord. These are called
difference tones. Although you can hear them in other tracks, they are very noticeable on
this one. The note you hear as a difference tone is simply the difference between the
frequency of two notes played at the same time. They are produced only in the human ear
and are not something that can be measured electronically. For example, if you play a
clarion C together with a throat tone F, the difference between the two frequencies is
174.02 Hz, or a throat tone G. The trick is to get all these in tune! Playing difference
tones in tune helps give that special resonance you hear when music is well in tune.
B. Track 6 This next exercise is the same, but introduces a major 6th and a minor 7th.
Again, play only as high as you can comfortably.
Remember, you are looking for the FLEXIBILITY to tune in many musical situations!
vi
IV. Specifics for the Clarinet
Tuning: Pulling between the barrel and the upper joint makes the overall pitch of a
clarinet lower and pushing it back together makes the pitch higher. However, it affects
the throat tones more than other notes that have tone holes further away from the barrel.
Many teachers suggest tuning the open G first with the barrel and then the third space C
or B by pulling out at the middle joint between the two hands. When playing a tuning
note, play at least mf. Clarinets play sharper at soft dynamics and if you tune softy you
will be flat at louder dynamics.
Embouchure and air speed: This is too large a subject for this short introduction, but it is
sufficient to say that a well formed embouchure is a necessary part of playing in tune
throughout the range of the clarinet. In addition, proper air support and tongue position
are the driving forces of good tone and intonation. A point worth mentioning is that a
high tongue position will help in raising a pitch, for example the low E and F. Raising the
back of the tongue as one does by saying the word, “key”, forces the air up and over the
tongue. This increases the air speed and assists with raising the pitch.
Equipment: In the Frequently Asked Questions a graph of clarinet tuning variability is
shown. Even the best instruments cannot be designed to play perfectly in tune on all
notes. Beyond having the best clarinet you can find, the mouthpiece and barrel joint each
have a tremendous effect on how in tune you play. Here are a few other equipment
related points:
 Dirty tone holes can cause notes to be flat and fuzzy sounding. Pay special attention
to the register key tube which if clogged can flatten the throat tone Bb by 10 cents.
 The amount a pad is raised from the tone hole can affect the note. After a while, corks
can either get compressed or go missing entirely. Making a pad lower can flatten a
note, but if too low, the note will become stuffy.
 A good technician can correct intonation problems by adding or deleting material
from individual tone holes. Let a professional do this!
 When buying a clarinet, mouthpiece or barrel, make intonation as important as tone.
 Tuning rings in the barrel joint can help alleviate problems with flat throat tones when
the barrel must be pulled out a ways.
 Well-balanced reeds are also an important factor in both response and intonation.
Thomas Ridenour’s ATG System of reed adjustment is highly recommended.
How to adjust while playing: There are three basic ways to change the pitch
while playing. One is to change the embouchure by firming around the
mouthpiece to go higher or loosening to go lower. Remember, it is firming, not biting.
Some control can be had by pushing upward or relaxing the pressure with the right hand
thumb. A better route in some situations is to use alternate fingerings. An altissimo G
can be fingered many ways and some may be more in tune on your instrument than the
standard fingering. Also, adding fingers or opening tone holes by depressing a key can
change intonation as well as resonance. Lastly, shading tone holes is a useful skill.
While playing a low C, lower the right hand fingers close to the tone holes to lower the
pitch. A related method is to use half-hole fingerings. A good example is playing the
altissimo notes with the top left hand finger covering ½ of its tone hole. This not only
vii
flattens the pitch, but often makes upward slurs easier to negotiate.
V. Tune to Everything!
In our contemporary environment, there are notes being played to us all of the time. Just
for fun, walk around a bit and tune with those, too. They may not be pitched at A 440, but
how many groups do you play in that really are?
As an example, a ceiling fan running on high in the author’s

environment emits a 5th of B and F#.
Appendices
??? Frequently Asked Questions

Who can use this method?
Any intermediate to advanced player who can at least play a chromatic scale from low E
to altissimo G and play in all major keys. Some exercises go quite high, but those are for
players who want to explore that range. This is not a method for beginners.
This is harder than I thought. What should I do?
Keep at it! A little listening and playing with the audio files as a part of your regular
practicing will do wonders. Playing in tune is complicated. There is not an absolute
standard from one musical situation to the next. Many teachers ignore it, or are pretty
vague about it themselves. The goal is not to play perfectly with the pitches on the audio
files, but to train your ear to be sensitive to how good intonation sounds.
Here is another hint. The human ear is more sensitive to notes being flat than those being
sharp. Therefore, if you begin a note flat and bring it up to pitch it is easier to hear when
you reach the correct pitch.
Why would it make a difference which composer wrote the music?
This sounds like a good doctoral dissertation topic. It is quite clear that some composers’
music is harder to play in tune. For example Beethoven’s symphonies seem to present
more problems than say, Mozart’s. Beethoven tended to write open chords for the
woodwinds. The flutes were often in thirds in their high range, with the oboes doubled an
viii
octave below. The remainder of the woodwinds fill in below. Thicker, more compact
chord structures are easier to tune or at least cover up the inherent problems. This is not
to say that Beethoven was wrong! It is a part of what makes Beethoven’s music sound the
way it does. We just have to deal with it. Another example is the beginning of
Mendelssohn’s Overture to Midsummer Night’s Dream (bonus track) where the
woodwinds play four slow chords. Their spacing is denser than Beethoven’s, but their
softness and length of playing makes it a challenge. When playing soft, clarinets tend to
play sharper, and flutes go the opposite direction.
Why aren’t our instruments made to play perfectly in tune with others or
even with themselves?
In his article, “The mechanics of playing the clarinet” in The Cambridge Companion to
the Clarinet, Antony Pay states that in making clarinets, “there is a trade-off between
excellence of sound and excellence of intonation”. This mostly has to do with the size of
the bore at various places, the size and placement of the tone holes, and the compromises
made in the placement of the register key. The register key in particular is a design
problem since it doubles as a regular tone hole for the throat tone Bb as well as the
speaker key for activating the upper register notes. At best, we can only seek an
instrument that has good tone and the flexibility to bring pitches into tune.
As an illustration, here is a graph showing the average variability of each note from the
correct pitch based on four fine clarinets, three new ones and one vintage instrument that
plays well in tune. The scale used is the average number of cents the note varied from
correct pitch, either higher or lower. Most people can discern the difference in pitch of 3 -
4 cents, so any variance of that amount or less is reasonably good. However, look at how
much variety from note to note there is.
10
0
E
E
#
D
b
b
F#
F#
F#
F#
G
G
B
ix
What is the compromise of Equal Temperament about?
The ancient Greeks worked out the division of the octave based on pure intervals that our
ears hear and that the nature of harmonic vibration dictates. As it turns out, if you begin
with a fixed note C and tune a series of pure 5th intervals you wind up not ending at a C,
but at a B# that is higher than the C by about 25 cents. This is called Pythagorean tuning
and the 25 cents is a Pythagorean Comma. Equal Temperament solves this by
“tempering” or tuning slightly out of tune. The idea is to make all intervals a little out of
tune to avoid a badly out of tune 5th in the circle of 5ths. This was called a wolf tone since
the sound of it played on early organs reminded people of the howling of wolves. Since
early in musical history there have been attempts to reconcile the problem by using
structured versions of tuning. Equal Temperament is a tuning that allows all keys to be
played in without some being extremely discordant.
J.S. Bach invented Temperament, right?
Although Bach was probably involved in the discussion, he did not invent the method of
tuning. It is said he tuned his instruments in an equal manner because he wished to
compose using many keys and the modulations between them. The meantone system in
use at the time was probably an irritation to Bach since certain keys would be intolerably
out of tune. His “Well-Tempered Clavier” was an effort to show that using the newer
system of Well, or Equal temperament, all keys could be played.
I noticed on the chart on page 2 that the adjustments for Just Intonation
are symmetrical between the major 3rd/minor 6th, the 4th/5th, etc. but not
with a major 2nd/minor 7th. Why?
Since the time of the ancient Greeks, scale tones and intervals have been arithmetically
described using ratios. In the process of determining the ratios for each note in a scale,
the ratio of 9:5 is required for Just intonation of the minor 7th. However, another system
called the Pythagorean Scale uses the ratio of 16:9 which supplies the symmetrical cents
change you are looking for between the major 2nd and the minor 7th. (+ or - 3.9 cents).
All the other combinations of the 4th/5th and the major/minor 3rd intervals work out
symmetrically in Just intonation.
Why don’t we use frequency for judging intervals? Why use cents?
This is just a convenient way to calculate the space between intervals. Using frequency or
cycles per second we find that the frequency numbers between notes in a lower range is
less than in a higher range. This would be confusing. One cycle per second difference in
intonation would mean something different if the notes were higher or lower. By dividing
intervals into fractions of a semitone it is easier to understand and manipulate. An octave
is 1200 cents. Therefore each chromatic tone is 100 cents. Tuning machines are
calibrated in cents.
With my tuner and a tuner pick-up I could play in an ensemble with the
tuner on all the time and always be right. Good idea, isn’t it?
Well, you might be correct, but probably not right. Remember these things: 1) When
playing in an ensemble we adjust the pitch to match a pure tuning of the chord. This may
not be the Equal Tempered scale of the tuning machine. 2) The amount of warm-up of
instruments and the performance space temperature makes a lot of difference in the
general pitch of the ensemble. 3) Different instruments have different tuning response to
changes in temperature and volume. 4) Not everyone has as good an ear as you have
developed by using this method. 5) Even with a trained ear for pure intervals, we have to
understand that in real music performance the theory of tuning and practical “getting
along” sometimes clash. Playing in tune is both a science and an attitude.
Why would anyone need to play at a different pitch standard? Doesn’t

everyone tune right at A 440?
Having an international standard for tuning an A at 440 cycles per second is a fairly
recent development. Earlier tuning was often different for each ensemble, although we
know that pitch in the Baroque period was generally lower than it is now. Even with a
standard A 440, some groups deliberately tune to a slightly different A. Others?….well, it
may not be deliberate, but they will tune to another pitch even when the poor pitch giver,
usually the oboe, has his or her eyes glued to a tuner. If you have the time, it is
entertaining to ask oboe players about this task they have.
xi
I need help with identifying intervals.
Here is a helpful chart of common intervals:

Interval Name Example Notes Cents Difference Abbreviation
Unison C-C 0 Unis.
Minor Second C - C# 100 Min 2nd
Major Second C-D 200 Maj 2nd
Minor Third C - Eb 300 Min 3rd
Major Third C-E 400 Maj 3rd
Perfect Fourth C-F 500 4th
Augmented Fourth C - F# 600 Aug 4th
Perfect Fifth C-G 700 5th
Minor Sixth C - Ab 800 Min 6th
Major Sixth C-A 900 Maj 6th
Minor Seventh C - Bb 1000 Min 7th
Major Seventh C-B 1100 Maj 7th
Octave C – C (octave higher) 1200 Oct.
What is stretch tuning on pianos?
Pianos are tuned in Equal Temperament, but with a difference. Due to the physics of
strings, there are non-harmonic sounds created when piano strings are struck by the
hammers. This is especially noticeable in the lower range and it makes the notes sound
out of tune. In order to tune with these extra harmonics, the notes in the lower range must
be tuned flatter. The reverse is true in the highest range. On most pianos the lower notes
may be as much as 30 cents lower than the expected frequency. The highest notes may be
30 cents sharp. The greater part of stretching occurs beyond the highest notes of flutes
and the lowest notes of bassoons. The highest notes on the clarinet may need to be played
about 5 cents sharper to be completely in tune with a piano. Flutes may need to play
about 10 cents sharper when playing in the top of their range. Bassoons may need to be as
much as 10 cents flatter on their lowest notes.
Do different types of instruments have a tendency to use a particular type

of tuning?
Yes, here is a list: Strings are biased toward Pythagorean Tuning due to the way they are
strung in perfect 5ths and because players tend to play sharps higher and their
corresponding enharmonic flats lower. Brass tend to use Just Tuning because their scales
are based more upon the overtone series upon which Just Tuning is based. Trombones
have that tendency too, but with the slide they can position notes anywhere. Woodwinds
are built with a bias toward Equal Temperament. Percussion, Piano, Harp – All fixed note
xii
instruments are manufactured to be tuned to Equal Temperament.
Other helpful hints and observations

 Do not make the mistake of assuming that the highest note of a minor third must be
played higher. Depending upon the chord type and the voice leading, it may need to
be played lower. After the training in this method, trust what your ear tells you.
 Many musicians playing a solo will raise their pitch in order to make the solo more
noticeable. Most writers about intonation condemn this practice…..but not
universally. One problem with doing so is the danger of causing the pitch to drift
higher within the ensemble.
 Oboist Robert Sprenkle suggests that the individual’s tuning responsibility in a large
ensemble is ½, not 1/50, or 1/75 etc. (article from Woodwind World)
 Intonation and correct embouchure are interrelated. You cannot have one without the
other. Spending time with this method will go a long way toward improving both.
Tone quality improves when the overtones in the sound are well balanced. The
detailed listening required to improve intonation will work toward a fine tone.
 For details on alternate fingerings and adjustments on the clarinet, the author highly
recommends “Intonation Training for Clarinetists” by Larry Guy (Rivernote Press)
 Do good musicians always have a pencil handy? Yes, and it is helpful to mark small
up or down arrows in your part to indicate where the note should be placed in that
context.
 When the tuning note is sounded at a rehearsal, listen to it for a few seconds then play
your pitch. Check your various registers and tune the 5th interval as well.
 Be certain your instrument is in good shape. If pads get old and distorted, or corks get
worn down, intonation can be compromised. With a wooden instrument internal
dimensions may change over time and affect the tone and intonation.
 While watching a tuner with your clarinet, you may notice that the beginning of a
note tends to be higher and the pitch settles to a lower pitch. This is normal on a
clarinet.
 Remember that intonation of flutes and oboes tends to be the opposite of clarinets in
their highest registers. Flutes and oboes are often sharp and clarinets are often flat.
The same applies to the effects of playing loud; flutes and oboes go sharper and
clarinets go flatter. The piccolo, on the other hand has tendencies more like clarinets.
Bassoons tend to be sharp on their lowest notes and have the same tendencies while
playing loud or soft as the clarinet.
 If you are in tune on one chord, you may no longer be when the chord changes even if
you do not change notes.
 If you play with a vibrato, be sure the middle of the vibrato is right in tune. It is
better for intonation when the first player is using vibrato for the second player to use
less vibrato.
 Complex harmony and atonal music require Equal Temperament.
In any one performance, several tuning systems may be used at various times. Expert
players unconsciously and quickly adjust to play in tune.
xiii
II. Suggested Reading and Other Resources used for this method
John Backus, The Acoustical Foundations of Music, W.W. Norton & Company, Inc 1969
A major resource of musical acoustics.
J. Murray Barbour, Tuning and Temperament A Historical Survey, Dover Publications,
Inc.,1951
Philip Farkas, The Art of French Horn Playing, Summy-Birchard Co. 1956
Larry Guy, Intonation Training for Clarinetists, Rivernote Press 1995
This has good information about how to play in tune, helpful fingerings, clarinet
pitch tendencies, and physical changes on the clarinet that enhance intonation.
Stuart Isacoff, Temperament, How Music Became a Battleground for the Great Minds of
Western Civilization, Vintage Books (Random House), 2001
Colin Lawson, The Cambridge Companion to the Clarinet, Cambridge University Press
1995
Christopher Leuba, A Study of Musical Intonation, Prospect Publications, distributed by
Cherry Classics Music 1962
Good theoretical book with practical applications, especially for brass players.
David Pino, The Clarinet and Clarinet Playing, Dover Publications, Inc. 1980
Excellent general clarinet material.
W. Thomas Ridenour, The Definitive Guide to Successful Reed Finishing (ATG Reed
Finishing System), W. Thomas Ridenour 1993
W. Thomas Ridenour, The Educator’s Guide to the Clarinet, W. Thomas Ridenour 2002
William Spencer, The Art of Bassoon Playing, Summy-Birchard Co. 1958
Robert Sprenkle and David Ledet, The Art of Oboe Playing, Summy-Birchard Co. 1961
Keith Stein, The Art of Clarinet Playing, Summy-Birchard Co. 1958
Donald Stauffer, Intonation Deficiencies of Wind Instruments, Stauffer Press, 1954
Larry Teal, The Art of Saxophone Playing, Summy-Birchard Co. 1963
Trevor Wye, Practice Book for the Flute Book 4 – Intonation & Vibrato, Novello
Publishing Limited 1983
Web Sites
Peter Frazer, The Development of Music Tuning Systems,
http://www.midicode.com/tunings/index.shtml
Mike Doolin, Intonation (series of articles about intonation of guitars),
http://www.doolinguitars.com/intonation/intonation1.html
University of New South Wales, Sydney, Australia, Music Acoustics,
http://www.phys.unsw.edu.au/music/
This web site has easy to understand information about acoustics – see especially
the article titled “Tuning Woodwinds”
Thomas Labadorf, Warmup and Intonation,
http://www.music.ccsu.edu/faculty/labadorf/Warmup-Intonation.pdf
Catherine Folkers, Playing in Tune on a Baroque Flute, http://traverso.baroqueflute.com/
xiv
This is an article offered on the Traverso Baroque Flute website.
Michael Keener, Thoughts on Intonation, http://www.keener-music.com/article.htm
2001
Robert Sprenkle, Do You Play in Tune?,
http://idrs.colorado.edu/publications/Journal/JNL1/tune.html , an article from the
Journal of the International Double Reed Society
Clark Fobes, Articles at http://www.clarkwfobes.com/Articles.htm
Charles West, Woodwind Intonation Clinic, handout for an intonation clinic, 2002
http://www.people.vcu.edu/~bhammel/winds/intonation_vmea_2002.pdf
The Concert Band, Band Training Intonation
http://www.theconcertband.com/Band_training_intonation.htm
Richard Hein, Precise Intonation for Performing Musicians,
http://www.heincomputing.com/precise2.htm, 1981
Cliff Colnot, Just-diatonic Intonation,
http://www.soundpostonline.com/archive/summer2002/page6.htm
Lawrence Bordon, Preferences for Major Triads Tuned in Just Intonation and Equal
Temperament, 2003,
http://www.vanderbilt.edu/trombonestudio/Text_Documents/Masters_Thesis/Co
mplete Final Thesis.pdf
xv
Intonation Exercises for Clarinet
I. Basic Tuning
Tuning Notes: Play the tuning note
ww 20 seconds
TRACK 1 - F concert pitch (G) and major chord
and either remain on that note when
&c w ww
25 seconds
www
the chord sounds or change to one of
the chord pitches as given. Keep
repeating the track to play all of the
pitches. The chords are in Just
Intonation, so tune the 3rd 14 cents
lower and the 5th 2 cents higher.
ww
TRACK 2 [00:00:52]- Bb concert pitch (C) and major chord
ww
&w
3
ww
Also (1) Start mf and decrescendo
ww to ppp
(2) Start ppp and crescendo
to ff
Keep the pitch constant throughout
TRACK 3 [00:01:45] - A concert pitch (B) and major chord
w
&w # # www
# # www
#w
II. TRACK 4 (00:02:38) - Long tones with quarter note beats
A. Listening to intervals in a major chord - remember to lower the 3rd of the chord by 14 cents, and raise
the 5th of the chord by 2 cents to bring them into Just Intonation. With this exercise you always begin
a beat before the tone on the audio so you can compare your intonation to the audio pitch. You may want
to play just the 1st three notes before moving on with the complete arpeggio.
œ œ œ
maj 3rd 5th
&Œ Œ Œ œ Œ Œ Œ
maj 3rd 5th
œ
CD:
# œ œ
beat beat beat beat tone -14 -14 +2
œ
+2
Eb start on the œ ˙ #œ œ "A" clarinetœ ˙ œ œ

starts here
6th note of the audio on the 1st audio
#œ œ
track
# œ œ
track note
&Œ Œ Œ #œ # œ Œ Œ Œ œ œ
#œ ˙ #œ #œ œ ˙ œ œ
b œ bœ œ œ
œ # œ
Eb clarinet
&Œ Œ Œ bœ Œ Œ Œ œ
bœ ˙ œ bœ Nœ ˙ #œ œ
© Copyright 2006 by JB Linear Music
2 Intonation Exercises for Clarinet
Track 4
œ bœ # œ œ
&Œ Œ Œ bœ œ Œ Œ Œ œ # œ
bœ ˙ œ œ Nœ ˙ #œ #œ
œ œ # œ #œ
œ œ #œ # œ
&Œ Œ Œ œ ˙ œ œ Œ Œ Œ
#œ ˙ #œ #œ
# œ œ œ
œ bœ bœ
œ bœ
&Œ Œ Œ œ ˙ #œ œ Œ Œ Œ
bœ ˙ œ bœ
# œ œ œ œ œ œ
œ œ
& Œ Œ Œ Nœ ˙ #œ œ Œ Œ Œ œ ˙ œ œ
# œ #œ œ œ
#œ # œ œ œ
& Œ Œ Œ aœ ˙ #œ #œ Œ Œ Œ œ ˙ œ œ
bœ bœ œ œ
& Œ Œ Œ bœ ˙ œ bœ œ bœ Œ Œ Œ Nœ ˙ #œ œ #œ œ
bœ œ œ #œ
& Œ Œ Œ bœ ˙ œ œ œ bœ Œ Œ Œ Nœ ˙ #œ #œ #œ œ
œ œ
Even though the middle tones of the chord are now a 4th and
œ œ œ œ
minor 6th relative to the first note, continue to tune them as before.
&Œ Œ Œ œ ˙ Œ Œ Œ #œ ˙ #œ #œ #œ # œ # œ #œ
(+2) (-14)
&Œ Œ Œ œ ˙ œ #œ # œ œ œ Œ Œ Œ bœ ˙ bœ œ œ bœ bœ
œ bœ
Track 4 3
&Œ Œ Œ
Nœ ˙ œ #œ œ # œ œ œ Œ Œ Œ œ ˙ œ œ
œ œ œ œ
#œ ˙ #œ #œ # œ #œ œ ˙ œ œ œ œ
&Œ Œ Œ #œ # œ Œ Œ Œ œ œ
bœ ˙ bœ œ bœ bœ Nœ ˙ œ #œ œ œ
bœ ˙ œ œ œ bœ Nœ ˙ #œ #œ #œ œ
œ ˙ œ œ œ œ bœ ˙ bœ œ
œ œ bœ bœ
&Œ Œ Œ Œ Œ Œ œ bœ
Nœ ˙ œ #œ bœ ˙ bœ œ
œ œ bœ bœ
&Œ Œ Œ #œ œ Œ Œ Œ œ bœ
Nœ ˙ œ #œ œ ˙ œ œ
œ œ œ œ
&Œ Œ Œ #œ œ Œ Œ Œ œ œ
#œ ˙ #œ #œ œ ˙ œ œ
#œ #œ œ œ
&Œ Œ Œ #œ #œ Œ Œ Œ œ œ
bœ ˙ bœ œ bœ
bœ œ bœ
&Œ Œ Œ
Track 4
B. Listening to intervals in a minor chord - remember to raise the 3rd of the chord by 16 cents, and raise
the 5th of the chord by 2 cents to bring them into Just Intonation. Track 4 (00:02:38)
œ œ œ
min 3rd 5th
&Œ Œ Œ Œ Œ Œ œ
min 3rd 5th
œ b œ
tone +2
œ
beat beat beat beat +16
œ
+16 +2
œ ˙ œ œ "A" clarinet œ ˙ bœ œ
Eb start on the starts here
6th note of track 8 on the 1st note
#œ œ œ
&Œ Œ Œ #œ œ # œ Œ Œ Œ œ b œ
#œ ˙ nœ #œ œ ˙ bœ œ
# œ #œ
œ œ œ
&Œ Œ Œ œ Œ Œ Œ
Eb clarinet
#œ œ
#œ ˙ œ #œ Nœ ˙ nœ œ
b œ œ bœ œ #œ œ
&Œ Œ Œ bœ œ
bœ Œ Œ Œ
œ #œ
œ
bœ ˙ Nœ ˙
b œ œ œ œ #œ #œ
&Œ Œ Œ œ Œ Œ Œ #œ
œ ˙ bœ œ #œ ˙ nœ #œ
œ b œ bœ
œ œ œ bœ b œ
&Œ Œ Œ œ ˙ œ œ Œ Œ Œ bœ ˙ bœ bœ
œ œ œ œ
œ œ œ b œ
& Œ Œ Œ Nœ ˙ Nœ œ Œ Œ Œ œ ˙ bœ œ
œ # œ #œ
b œ œ œ
#œ œ
& Œ Œ Œ aœ ˙ nœ #œ Œ Œ Œ œ ˙ bœ œ
Track 4 5
#œ #œ œ œ
& Œ Œ Œ #œ ˙ œ #œ œ #œ Œ Œ Œ Nœ ˙ nœ œ œ œ
bœ œ œ #œ
bœ œ bœ bœ ˙ Nœ
#œ œ œ
& Œ Œ Œ bœ ˙ Œ Œ Œ Nœ
Even though the middle tones of the chord are now a 4th and
œ œ
bœ œ
major 6th relative to the first note, continue to tune them as before.
bœ œ
& Œ Œ Œ Nœ ˙ Œ Œ Œ #œ ˙ #œ Nœ #œ œ # œ #œ
(+2) (+16)
&Œ Œ Œ œ ˙ œ œ œ œ œ Œ Œ Œ bœ ˙ bœ bœ bœ b œ b œ bœ
œ
&Œ Œ Œ
Nœ ˙ Nœ
Nœ œ œ œ Œ Œ Œ œ ˙ œ bœ œ b œ œ œ
œ
#œ ˙ #œ Nœ # œ #œ œ ˙ œ Aœ œ œ
& Œ Œ Œ #œ œ Œ Œ Œ œ b œ
bœ ˙ bœ bœ b œ bœ Nœ ˙ Nœ œ œ
&Œ Œ Œ bœ b œ Œ Œ Œ Nœ œ œ
bœ ˙ œ bœ œ bœ Nœ ˙ #œ Nœ # œ œ
&Œ Œ Œ bœ b œ Œ Œ Œ œ œ
Track 4
Nœ ˙ œ bœ ˙ bœ bœ
œ bœ œ b œ œ bœ bœ
&Œ Œ Œ Œ Œ Œ bœ bœ
Nœ ˙ Nœ bœ ˙ bœ bœ
Nœ œ œ bœ bœ
&Œ Œ Œ œ œ Œ Œ Œ bœ bœ
Nœ ˙ Nœ Nœ ˙ œ bœ
Nœ œ œ œ œ
&Œ Œ Œ œ œ Œ Œ Œ bœ œ
#œ ˙ #œ Nœ nœ ˙ œ bœ
#œ #œ œ œ
&Œ Œ Œ œ #œ Œ Œ Œ bœ œ
bœ ˙ bœ bœ bœ bœ
&Œ Œ Œ bœ bœ
C. Listen for the interval of a 12th within the tone of the clarinet and then match the pitch when
applying the register key. It may help to play the 5th briefly (note in brackets) so you can more
easily pick out the overtone 12th. The 3rd harmonic of the interval of a 12th is usually prominent
in the lower tones of the clarinet. ----TRACK 4 (00:02:38)----
&Œ Œ Œ ˙ ŒŒŒ ˙ Œ Œ Œ #˙
beat beat beat beat tone
w #(w)
œ (ww) ˙ "A" clarinet
starts here
œ (w) ˙ #œ w ˙
Eb start on the on the 1st
6th note of track 8 note
˙ #˙ ˙
&Œ Œ Œ Œ Œ Œ Œ Œ Œ
Eb clarinet
w
œ (ww) ˙ # œ #(ww) ˙ œ (w) ˙
˙ #˙ ˙
&Œ Œ Œ ŒŒŒ Œ Œ Œ
271
b œ (ww) ˙ N œ #(ww) ˙ œ (ww) ˙
Track 4 7
#˙ ˙ b˙
& Œ Œ Œ # œ #(ww) #˙
Œ Œ Œ
œ (ww) ˙
Œ Œ Œ b œ b(ww) ˙
˙
& Œ Œ Œ Nœ (ww) ˙
D. Exercise for quick intonation adjustments ----TRACK 4 (00:02:38)----

Play only as high as you can comfortably.
beat beat beat beat tone
&Œ Œ Œ œ œœ Œ Œ Œ
Eb start on the
œ # œ œ œ œ
œ œ œ œ œ œ #œ œ "A" clarinet œ œ œœœœœœœ
starts here
6th note of track 8 maj 3rd 5th
+2
on the 1st
-14
note
& œ œœ Œ Œ Œ #œ œ #œ Œ Œ Œ
œœ #œ œ
œ œ #œ œ #œ #œ œ œ œ #œ œ #œ œ œ
& œ œ œ Œ Œ Œ b œ œ bœ œ bœ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ
bœ œ bœ œ œ bœ œ œœ
Eb clarinet
&Œ Œ Œ œ œ œ œœ Œ Œ Œ œ œ
œ œ œ œ œ œ œ #œ œ
# œ œ bœ œ œbœ œ œ œ
& bœ œ œ Œ Œ Œ # œ œ œ œ #œ
bœ œ œ œ œ # œ œ
œ œ œ œ œ œ #œ œ
Track 4
bœ œ
& Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ bœ œ œ bœ œ œ bœ œ œ bœ œ bœ œ œ
œ œœ
&Œ Œ Œ œ # œ œ œ œ
œ œ œ œ œ œ #œ œ Œ Œ Œ bœ œ œbœ œ œbœ œ œ
bœ œ bœ Œ Œ Œ œ œ œ œ œœ Œ Œ Œ œ
& bœ œ œ œ œ œ œ œ œ œ #œ œ
# œ œ
œ œ œ œœ Œ Œ Œ #œ œ #œ #œ œ œ #œ œ œ #œ #œ œ œ #œ #œ œ
œ œ
&œ œ œ œ œ œ œœ
œ œ œ
&Œ Œ Œ œ
œ œ
œ œ œœœ œ œ œ œ œ Œ Œ Œ bœ œ œb œ œ œb œ œ œ
bœ œ bœ œ œ œ œœ
& bœ œ œœ Œ Œ Œ œ œ œ œ œ œ œ #œ œ
# œ œ Œ Œ Œ bœ
œ œ bœ œ œ # œ œ œ œ #œ
œ œ
& œ bœ œ œ bœ œ œœ Œ Œ Œ œ # œ œ
œ œ œ œ œ œ œ
œ œ œ bœ œ bœ œ bœ œ
&Œ Œ Œ œ œ œ œ œ œ œ œ Œ Œ Œ bœ œ bœ œ œ bœ œ œ
Track 4 9
œ œœ
œ # œ œ œ œ
Œ Œ Œ bœ œ œbœ œ œbœ œ œ
&Œ Œ Œ
bœ œ bœ œ œ œ œœ
bœ œ œœ # œ œ #œ œ œ
& Œ Œ Œ œ œ œ œ œ œ œ Œ Œ Œ
œ œ œ œ œ œœ œ # œ œ #œ œ #œ œ #œ #œ
œ œ œ œ œ œ œ Œ Œ Œ #œ œ #œ œ œ #œ œ œ
&
œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œœ bœ œ bœ œ bœ œ œ
&Œ Œ Œ Œ Œ Œ œ œ
bœ œ bœ œ œ œ œ œ œ œ œ œ bœ
& bœ œ œ Œ Œ Œ #œ œ œ œ œ œ œ #œ Œ Œ Œ
œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ Œ Œ Œ #œ œ #œ œ œ œ #œ #œ
&
œ œ œ œ œ œ œ œ bœ œ bœ œ bœ œ œ
&Œ Œ Œ Œ Œ Œ
bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ
bœ œ Œ Œ Œ #œ œ œ œ
&
Track 4
bœ œ bœ œ bœ œ œ bœ œ bœ œ Nœ œ œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ #œ œ œ œ #œ
& Œ Œ Œ Œ Œ Œ
œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ œ
œ œ œ œ œ œœ œ #œ œ
&Œ Œ Œ Œ Œ Œ
#œ œ #œ #œ œ œ œ œ œ œ œ œ
#œ œ œ œ
& Œ Œ Œ
œ œ œ œ bœ œ bœ œ bœ œ œ bœ œ bœ œ
œ œ œ œ œ bœ œ œ
& Œ Œ Œ
Track 4 11
E. Tuning all notes in each major key. Play first using Equal Temperament tuning by checking your tuner
as you play. Then play using Just intonation by getting the beats out of the sound. As a reminder, use this
chart for each note of the major scale in Just intonation Track 4 (00:02:38)
note 1 - unison = 0 adjustment

note 2 - major 2nd = +4 cents
note 3 - major 3rd = -14 cents
note 4 - perfect 4th = -2 cents
note 5 - perfect 5th = +2 cents
note 6 - major 6th = -16 cents
note 7 - major 7th = -12 cents (at times higher since it is a "leading tone")
note 8 - octave = 0 adjustment
To do this effectively, you should use a tuner pick-up to isolate your instrument's pitch.
####
1 2 3 4 5 6 7 8
& Œ Œ Œ b Œ Œ Œ œ œ
Eb start on the œ œ œ "A" clarinet
starts here
œ œ œ
6th note of the track on the 1st track
#### # #
note
& # Œ Œ Œ œ œ œ œ
Œ Œ Œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
bb ###
Eb clarinet
&bb Œ Œ Œ œ œ œ œ œ Œ Œ Œ
œ œ œ œ œ
œ œ œ œ œ œ œ œ
b #### Œ Œ Œ
&b Œ Œ Œ œ œ œ œ œ œ # œ œ œ œ œ œ
œ œ œ œ œ œ
&Œ Œ Œ œ œ œ œ bbbbb Œ Œ Œ œ œ œ œ
## Œ Œ Œ œ œ œ bbb Œ Œ Œ œ œ œ œ œ œ œ œ œ
& œ œ œ
œ œ œ
Track 4
#### œ
& Œ Œ Œ œ œ œ œ œ œ œ œ œ b Œ Œ Œ œ œ œ œ œ œ œ œ
#### # œ œ œ # œ œ
& # Œ Œ Œ œ œ œ œ œ œ Œ Œ Œ œ œ œ œ œ œ œ
b bb Œ Œ Œ œ œ œ œ œ œ œ ### Œ Œ Œ œ œ œ œ œ œ œ
& b œ œ œ œ
bb Œ Œ Œ œ œ œ œ œ œ œ œ œ #### Œ Œ Œ œ œ œ œ œ œ œ œ œ
& #
œ œ œ œ œ œ œ œ œ œ œ
œ œ bbbbb Œ Œ Œ œ œ œ
&Œ Œ Œ œ œ
## Œ Œ Œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ
& bbb Œ Œ Œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
# # œ œ œ œ œ
& ## Œ Œ Œ b Œ Œ Œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
#### # Œ Œ Œ œ œ œ # Œ Œ Œ œ œ
& #
Track 5 13
III. Track 5 (00:15:20) - Tuning to Short Reference Notes
A. Tune to equal tempered piano notes while maintaining the same pitch on repeated notes.
(1) Hold the note over into the next beat to get a direct comparison if you wish.
(2) Play either the repeated notes or the alternate 5ths and octaves.
(3) Add a crescendo and decrescendo and keep the pitch steady.
(4) Play only as high as you are comfortable.
beat beat beat beat beat tone beat tone beat tone beat tone "A" clarinet starts here
&Œ Œ Œ Œ Œ Œ œ( ) Œ ( œ ) Œ Œ Œ Œ Œ Œ Œ
on the 1st track note
( œœ ) ( œœ ) (œ ) ( œ )
Eb start on the œ œ œ ˙. œ œ œ ˙.
6th note of the track
& Œ Œ Œ Œ Œ Œ Œ ( œ) Œ Œ Œ
( # œœ ) (# œ ) (# œ ) ( œœ ) ( œ)
#œ #œ œ #˙. œ œ œ ˙.
& Œ b œ Œ ( b œ ) Œ (b œ ) Œ Œ Œ œ Œ ( œ ) Œ ( œ) Œ Œ
b œ ( œ) bœ œ b˙. œ ( œ) œ œ ˙.
& Œ œ Œ (b œ ) Œ ( œ ) Œ Œ Œ # œ Œ ( œ ) Œ (# œ ) Œ Œ
b œ ( œ) bœ œ b˙. œ ( œ) œ œ ˙.
& œ Œ ( œœ ) Œ ( œœ ) Œ ( œœ ) Œ Œ Œ ( b œ ) Œ ( b œ ) Œ (b œ ) Œ Œ
˙. bœ œ bœ œ b˙.
& œ Œ ( œœ ) Œ ( œœ ) Œ ( œœ ) Œ Œ Œ ( b œ ) Œ ( b œ ) Œ (b œ ) Œ Œ
˙. bœ œ bœ œ b˙.
œ
& œ Œ ( œœ ) Œ ( œ ) Œ ( œœ ) Œ Œ Œ ( œ) Œ ( œ ) Œ ( œ ) Œ Œ
˙. œ œ œ œ ˙.
Track 5
(# œ ) œ) Œ ( œ ) Œ ( œ ) Œ
& # œ Œ ( # œœ ) Œ # œ Œ (# œœ ) Œ #˙. Œ œ Œ ( œ œ œ ˙. Œ
( bœ ( b œ ) (b œ ) œ ) ( œ) (œ)
& bœ Œ œ ) Œ bœ Œ œ Œ b˙. Œ œ Œ ( œ Œ œ Œ œ Œ ˙. Œ
( œ ) (bœ ) ( œ ) ( # œ ) ( œ ) (# œ )
& bœ Œ œ Œ bœ Œ œ Œ b˙. Œ œ Œ œ Œ œ Œ œ Œ ˙. Œ
( œ ) ( œ ) ( œ) ( b œ ) ( b œ ) (b œ )
&œ Œ œ Œ œ Œ œ Œ ˙. Œ bœ Œ œ Œ bœ Œ œ Œ b˙. Œ
( œ) ( œ ) ( œ ) ( bœ) ( b œ ) (b œ )
œ œ Œ œ Œ œ Œ ˙. bœ Œ œ Œ bœ Œ œ Œ b˙.
& Œ Œ Œ
( œ) ( œ) ( œ) ( œ) ( œ) ( œ)
œ œ Œ œ Œ œ Œ ˙. œ Œ œ Œ œ Œ œ Œ ˙.
& Œ Œ Œ
(#œ) ( # œ ) (# œ ) ( œ) ( œ) ( œ)
#œ Œ œ Œ #œ Œ œ Œ #˙. œ œ œ œ ˙.
& Œ Œ Œ Œ Œ Œ
( bœ) (bœ ) (b œ ) ( œ) ( œ) ( œ)
bœ œ bœ œ b˙. œ œ œ œ ˙.
& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
15
(bœ ) ( œ)
Track 5
( œ) ( œ) (#œ) (# œ )
bœ œ bœ œ b˙. œ œ œ œ ˙.
& Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
( œ) ( œ) ( œ)
œ œ œ œ ˙.
& Œ Œ Œ Œ Œ
B. Tuning appeggios - Track 5 (00:15:20)
####
beat beat beat beat beat tone beat tone beat tone beat tone
& Œ Œ Œ Œ œ œœ œœ œ œ  b œ œœ
œ œ œœ œ œ œ œœœ
œ œ œ
#### # # œœ
& b œœœœ  # œœ œ œ œ œ 
604
œ œ œ œ œ
œœœ œ œ œœ
œ œœœ œ œ œœ
# œœ bbbb œœ œ œ œ œ ### œ œ
œ  œ œ  œ
610
& œ œœ œ œ œ œ œ
œœ œ œœ œœ œ œœ
### œ œ œœ œœœ
œœ œ  bb œ œ 
616
& œœœ œ œ œ œœ œ œ
œ œ œ
#### œ œœ œ œ œ œ œ  nnnn œ œœ œ œ œ œ œ 
# n
621
& œ œ œ œ œ œ œ œœ œ
œ œ œœ œ œ
œœ œœœ œœ œœœ
Track 5,6
bbbb œ ##
& b œ œœœ œœ œ œ œ  œ œ œ œœ œ œ œ 
œ œ œ œ
œœ œœœœ #### œœ œœœœ

& bbb œ œ œ œ œ
œ œœ œ œ 
œ œ œ œ œ
œ œœ œ œ 
œ œœ œœœ œ  #### # œ œœ œ œœ œ 
b
& œ œœ œ œ œ œœ œ # œ œœ œ œ œ œœ œ
œ œ œ œ œœœ œ œ œœ œœœ œ
œ#œ œ œ  bb b b œ œ œœ
œœ œ 
& œ œ œœ œ œ
# œ œœ œ œ œœ œ œ œœ œ œ œœ œ
## œ œ œ œœ œ  bb œ œ œ œ œœœ œ 
& œ œ
œ œ œœœ œ œ œœ
#### œ œ œ œ œ œœ œ œ nnnn œ œ œ œœ œ œœ œ œ
œœ
[5:23]
& # œœ  n 
IV. Track 6 (00:25:52)- Tuning to an interval of a 5th in Just Intonation
A. The tones on the MP3 are tuned with the upper note of the perfect 5th set at 2 cents higher than Equal
Temperament (Just Intonation). Using 5ths makes it easier to hear beats when out of tune and allows
for the formation of different 3 note chords. This exercise combines major and minor 3rds. Play only as
high as you can comfortably go. Eb soprano and Bass clarinets have separate exercises and tracks.
tones - about 5th min 3rd maj 3rd
& ˙
Exercise +16 -14
˙
20 seconds +2
ww ˙ n˙ #˙ ww ˙ ˙ b˙
˙ ˙
& #˙ ww ˙
n˙ ˙ # # ww #˙ #˙ n˙ #˙ #˙ ˙
& ˙ b˙
b ww
b˙ n˙ b b˙ n˙ ˙
˙ b˙ b˙
Track 6 17
&w ˙ b˙
b ww
˙ n˙ #˙ ˙ b˙ n˙ b˙
w ˙ ˙ b˙
& #w ˙ ww ˙ ˙ b˙
w ˙ #˙ n˙ #˙ ˙ ˙
b˙ ˙
b b ww
& n˙ b˙ b˙ n˙ ˙ b˙ ww ˙
˙
b˙
b b ww
& ˙ n˙ #˙ b˙ b˙ n˙ b˙ ww
˙ b˙
˙ ˙ ww ˙ ˙
&˙ n˙ #˙ ˙ ˙ b˙ n˙ ˙
#˙ ww ˙ ˙ b˙
& # # ww #˙ #˙ n˙ #˙ #˙ ˙
b˙ ˙
b b ww
b˙ n˙ n˙ b˙ ww
& n˙ ˙ b˙ ˙
b˙
b ww
n˙ n˙ #˙ b˙ n˙ b˙ n˙ b˙ # ww
& ˙
˙ ww ˙ n˙ b˙
#˙ n˙ #˙ ˙ n˙ ˙
&˙ ˙
b˙ ˙
& b b ww b˙ b˙ n˙ n˙ b˙ ww ˙ n˙ n˙ #˙ ˙
Track 6
b˙ ˙
b b ww b˙ b˙ b˙ n˙ b˙ ww ˙ n˙ n˙
&
ww ˙ n˙ b˙ #˙
#˙ ˙ ˙ n˙ ˙ # # ww #˙
&
˙
bbw
#˙ n˙ ww n˙ b˙ n˙ w
#˙ #˙ ˙ ˙
&
b˙ b˙ n˙ ww ˙ n˙ n˙
b˙ n˙ b˙ ˙ #˙ ˙
&
b˙ ˙
b ww b˙ n˙ b˙ n˙ b˙ # ww ˙ #˙ n˙
&
ww ˙ n˙ b˙
#˙ ˙ ˙ n˙ ˙
&
Track 6 19
B. Tuning perfect 5th (+2 cents), major 6th (-16 cents) and minor7th (+18 cents). Play only
as high as you can comfortably. Be aware that at times a minor 7th interval should be played lower
depending upon the resolution to the next chord. Track 6 (00:25:52)
tones - about maj 6th min 7th
Exercise
&
+18
˙
20 seconds -16
ww ˙ #˙ n˙ ˙ ww ˙ ˙ b˙
˙ ˙ ˙ ˙
& #w #˙ #˙ n˙ #˙ ww ˙ ˙ n˙
# w #˙ #˙ ˙
&˙ ˙ b˙ b˙
b b ww
b˙ ww ˙
˙ b˙ b˙ ˙
& #˙ n˙ ˙ ˙ b˙ b˙
˙ b ww b˙ ˙ b˙ # ww
& #˙ #˙ n˙ ˙ ww ˙ ˙ b˙ ˙
˙ ˙ ˙ ˙
& #w #˙ #˙ n˙ #˙ ww ˙ ˙ n˙
# w #˙ #˙ ˙
˙ ˙ b˙ b˙
b b ww
& b˙ ww ˙
˙ b˙ b˙ ˙
n˙ ˙ ˙ b˙ ˙
& #˙ ˙
ww ˙ ˙ ˙ # # ww
#˙ #˙ n˙ #˙ ww ˙ ˙ n˙ ˙
& #˙ #˙ ˙ ˙
Track 6
˙ b˙ b˙ #˙ n˙
b b ww b˙ b˙ b˙ ww ˙ ˙
&
˙ ˙ b˙ b˙
b ww
˙ # ww #˙
& ˙ b˙ b˙ ˙
#˙ n˙ ˙ ˙ b˙ ˙
& ˙
ww ˙ ˙ ˙ b b ww
b˙ b˙ b˙ b˙ ww ˙ ˙ n˙ ˙
& b ˙ b˙ ˙ ˙
˙ b˙ b˙ #˙ n˙
&
˙ ww ˙ ˙ b˙ ˙
˙ ˙ ˙ # # ww
&
#˙ n˙ #˙ ww ˙ ˙ n˙ ˙
#˙ #˙ #˙ ˙ ˙
&
The audio track continues on up to C as the bottom note.....you may continue the same pattern as you wish.
21
IV. Eb soprano - Track 7 (00:40:06) - Interval of a 5th in Just Intonation

high as you can comfortably go.
& ˙
Exercise +16 -14
˙
20 seconds +2
ww ˙ n˙ #˙ w ˙ b˙
˙ ˙ w ˙
& #˙ ww ˙
n˙ ˙ # # ww #˙ #˙ n˙ #˙ #˙ ˙
&˙ b˙
b˙ n˙ ˙ b b ww b˙ b˙ n˙ ˙ b˙ ww
& ˙ b˙
˙ ˙ n˙ #˙ ˙ b ww b˙ ˙ b˙ n˙ b˙
& #w ˙ ˙
w ˙ #˙ n˙ #˙ ˙ ww ˙ ˙ b˙
b˙ ˙
b b ww
& n˙ b˙ b˙ n˙ ˙ b˙ ww ˙
˙
b˙
b b ww
& ˙ n˙ #˙ b˙ b˙ b˙ n˙ b˙ ww
˙
˙ ˙ ww ˙ ˙
&˙ n˙ #˙ ˙ ˙ b˙ n˙ ˙
#˙ ww ˙ ˙ b˙
& # # ww #˙
#˙ n˙ #˙ #˙ ˙ n˙ ˙
Track 7 - Eb
b˙ ˙
& b b ww b˙ b˙ n˙ n˙ b˙ ww ˙ n˙ n˙
b˙ ˙
b ww
n˙ b˙ n˙ b˙ # ww
& #˙ ˙ b˙ ˙
˙
&
#˙ n˙ #˙ ˙
ww ˙
n˙ b˙ n˙ ˙ b b ww
b˙ b˙ n˙ ww ˙ n˙ n˙
n˙ b˙ #˙
& b˙ ˙ ˙
b˙ ˙
b b ww b˙ b˙ b˙ n˙ b˙ ww ˙ n˙ n˙
&
ww ˙ n˙ b˙ #˙
#˙ ˙ ˙ n˙ ˙ # # ww #˙
&
˙
#˙ n˙ #˙ #˙ ww
˙
n˙ b˙ n˙ ˙ b b ww
&
b˙ b˙ n˙ ww ˙ n˙ n˙
b˙ n˙ b˙ ˙ #˙ ˙
&
The audio track continues on to high D as the bottom note.....you may continue the same pattern as you wish.
Track 7 - Eb 23
B. For Eb Soprano clarinet - Tuning perfect 5th (+2 cents), major 6th (-16 cents) and
minor7th (+18 cents). Play only as high as you can comfortably. Be aware that the minor 7th
can be played lower depending upon the resolution to the next chord. Track 7 (00:40:06)
tones - about maj 6th min 7th
Exercise
&
-16 +18
˙
20 seconds
ww ˙ #˙ n˙ ˙ ww ˙ ˙ b˙
˙ ˙ ˙ ˙
& #w #˙ n˙ #˙ ˙ n˙
# w #˙
#˙
#˙ ww ˙ ˙
&˙ ˙ b˙ b˙
˙ b b ww b˙ b˙ b˙ ww ˙ ˙
& #˙ n˙ ˙ ˙ b˙ b˙
b ww
˙ # ww
˙ b˙ b˙
& #˙ n˙ ˙ ˙ b˙ ˙
˙ #˙ ˙ ww ˙ ˙ ˙
& # # ww #˙ n˙ #˙ ww ˙ ˙ n˙
#˙ #˙ #˙ ˙
˙ ˙ b˙ b˙
& ˙ b b ww b˙ b˙ b˙ ww ˙ ˙
n˙ ˙ ˙ b˙ ˙
& #˙ ˙
ww ˙ ˙ ˙ # # ww
#˙ n˙ #˙ ww ˙ ˙ n˙ ˙
& #˙ #˙ #˙ ˙ ˙
Track 7 - Eb
˙ b˙ b˙ #˙ n˙
& b b ww b˙
b˙
b˙ ww ˙
˙
˙ ˙ b˙ b˙
b ww b˙ ˙ b˙ # ww ˙ #˙
& ˙
n˙ ˙ ˙ b˙ ˙
&
#˙
˙
ww ˙ ˙ ˙ b b ww
b˙ b˙ b˙ b˙ ww ˙ ˙ n˙ ˙
& b˙ b˙ ˙ ˙
˙ b˙ b˙ #˙ n˙
&
˙ ww ˙ ˙ b˙ ˙
˙ ˙ ˙ # # ww #˙ #˙
&
#˙ n˙ #˙ ww ˙ ˙ n˙ ˙
#˙ ˙ ˙
&
The audio track continues on to high D as the bottom note.....you may continue the same pattern as you wish.
25
IV. Bb Bass - Track 8 (00:54:22) -Interval of a 5th in Just Intonation

high as you can comfortably go. The first three notes are for basses that play to a low C.
&
20 seconds Exercise +2 +16 -14
ww ˙ ˙ b˙ #˙
˙ n˙ ˙ # # ww #˙ #˙ ˙
& ˙ b˙
bbw
n˙ #˙ ww ˙ n˙ #˙ w
˙ ˙ b˙
& ˙
b˙ b˙ n˙ ww ˙ n˙ #˙ ww
b˙ ˙ ˙
& ˙ ˙ b˙ #˙
##w
n˙ w #˙ n˙ #˙ #˙
˙ ˙ #˙
&w ˙ b˙
w ˙
˙ b˙ n˙ ˙ b b ww b˙ b˙ n˙
& n˙ ˙ b˙
b˙ ww ˙ ˙ n˙ #˙ ˙ b ww b˙
& ˙ b˙ # ww ˙ #˙ ww
n˙ b˙ ˙ n˙ #˙ ˙
˙ b˙
b b ww
&˙ ˙ b˙ n˙ b˙ b˙ n˙ ˙ b˙
˙
Track 8 - Bass
˙ b˙
b b ww
& ww ˙ n˙ #˙ b˙ b˙ b˙
˙ ˙
ww ˙ ˙ ww ˙ ˙ b˙
& n˙ b˙ ˙ ˙ #˙ ˙ ˙
#˙ ww ˙
# # ww
& n˙ #˙ n˙ #˙ #˙ ˙
˙ #˙
b˙
b b ww
b˙ n˙ w
& n˙ b˙ n˙ ˙ b˙ n˙ b˙ w
˙ b˙
b ww
n˙ ˙ #˙ b˙ ˙ b˙ n˙ b˙
&˙ ˙
# ww ˙ #˙ ww ˙ ˙
˙ n˙ #˙ ˙ ˙ b˙
&
b˙ ˙
n˙ ˙ b b ww b˙ b˙ n˙ ˙ b˙ ww ˙
&
b˙
˙ ˙ #˙ ˙ b b ww b˙ b˙ #˙ ˙ b˙ ww
&
˙ ˙ ww ˙ ˙ b˙
˙ ˙ #˙ ˙ ˙ n˙ ˙
&
#˙ ww ˙ ˙ b˙
# # ww #˙ #˙ n˙ #˙ #˙ ˙ n˙ ˙
&
Track 8 - Bass 27
b˙ ˙
b b ww b˙ b˙ n˙ ˙ b˙ ww ˙ ˙ ˙
&
b˙
#˙ ˙ b ww b˙ ˙ b˙ ˙ b˙
&
B. Track 8 - For Bb Bass clarinet - Tuning perfect 5th (+2 cents), major 6th (-16 cents) and
minor7th (+18 cents). Play only as high as you can comfortably. The first three are for
basses with a low C. Be aware that the minor 7th can also be played lower depending upon
the resolution to the next chord. Track 8 (00:54:22)
maj 6th min 7th

tones - about +18
Exercise
&
20 seconds -16
˙ b˙ ˙ b˙ n˙
ww ˙ ˙ ˙ b b ww b˙ b˙
& b˙ ˙ ˙
˙
bbw
ww ˙ w b˙
b˙ ˙ ˙ b˙
&˙ b˙ b˙ #˙ n˙ ˙ w
b˙ ww ˙ ˙ ˙ w
& ˙ ˙ b˙ ˙ #˙ n˙ #˙
##w
w #˙
˙ ˙ #˙ #˙
& w ˙ ˙ ˙
w ˙ ˙ ˙ b b ww b˙ b˙
&˙ b˙ b˙ ww ˙ #˙ n˙ ˙
b˙ ˙ ˙
Track 8 - Bass
& w ˙ ˙ b˙ b˙ # ww #˙ n˙
bw b˙ b˙ ˙ #˙
&˙ ˙ b˙ ˙
b b ww
ww ˙ b˙
˙ ˙ ˙ b˙
& b˙ n˙ b˙ ˙ ˙ ˙
b˙ ww ˙ ˙ ˙ b b ww
˙ b˙ b˙ #˙ n˙ ˙
& b˙ b˙ b˙ ww ˙ ˙ ˙
˙ b˙ ˙ #˙ ˙
& ww ˙ ˙ ˙ # # ww #˙ #˙
#˙ ˙ n˙ ˙
b b ww
ww ˙ b˙ b˙
& #˙ ˙ ˙
˙ #˙ b˙ #˙ ˙ ˙
& b˙ ww ˙ ˙ ˙ b ww
˙ ˙ b˙ b˙ # ww #˙ n˙ ˙
& b˙ b˙ ˙ #˙ ˙
˙ b˙ ˙ bw b˙ b˙ n˙ b˙
ww ˙ ˙ ˙ bw b˙ b˙
&
Track 8 29
˙ n˙ ˙ ˙ b˙
ww ˙ ˙ ˙ b b ww b˙ b˙
&
b˙ ww ˙ #˙ n˙ ˙ ww ˙
b˙ ˙ ˙ ˙
&
˙ b˙ ˙ #˙ n˙ #˙ ww
˙ # # ww #˙ #˙ #˙
&
˙ n˙ ˙ ˙ b˙ b˙
bbw
˙ w b˙
˙ ˙ b˙ b˙
&
#˙ n˙ ˙ ˙ b˙ b˙
ww ˙ ˙ ˙ b ww b˙ ˙ b˙
&
Track 9 (01:08:39)
Sonata for Clarinet - 3rd Movement
Bb Clarinet
Lento Saint Saens
b
& b b b 32
(piano) (clarinet)
˙ ˙ ˙ œ œ ˙ ˙ ˙
˙ ˙ ˙
f sempre nw
bb
&bb Œ Œ
5
w œ œ ˙ ˙. œ ˙ n˙. œ ˙ œ nœ œ
˙ œ œ œ
b
& b bb ˙ Œ Œ
10
˙. ˙ ˙. œ w. œ ˙. œ œ œ œ œ ˙
b
& b bb
15
˙ ˙ ˙ œ #œ ˙ ˙ œ nœ ˙ ˙
nw nœ œ
b
& b bb
19
œ œ œ œ ˙ ˙ ˙. œ ˙ ˙ œ œ œ nœ b˙. œ
(piano)
b
& b bb
w. w. w.
23
œ bœ ˙. œ ˙ ˙. n œ >w .
> > >
bbbb
29
w. w. w. w.
& œ œ œ œ œ œ
π
Sonata for Clarinet - 3rd Movement (Track 15)
bb b b ˙ ˙ ˙ œ œ ˙ ˙ ˙ w œ œ ˙ ˙. œ ˙ n˙. œ
(clarinet)
nw
34
&
π sempre
˙ œ œ œ ˙ ˙. ˙ ˙. œ w. œ ˙. œ
bb b b ˙ œ Œ n œ œ Œ Œ Œ
40
&
œ œ ˙
bb b b œ œ ˙ ˙ ˙ nw œ #œ ˙ ˙ œ nœ
46
&
˙ ˙ œ œ œ œ ˙ ˙ ˙. œ ˙ ˙ œ œ
bbbb nœ œ
50
&
π
œ nœ b˙. œ œ bœ w ˙ ˙. nœ w. 8
bbbb
54
&
∏
This movement of Saint-Saens' Sonata for Clarinet seems simple. The clarinet plays exactly the
same music twice but two octaves higher the second time. The lower section is loud and the higher
section is soft. Many clarinets play the lowest notes somewhat flat and playing loudly accentuates
that flatness. The reverse happens in the clarion register notes on the clarinet. They tend to be somewhat
sharp and playing softly accentuates that sharpness. Since pianos are "stretch tuned" with the lowest
notes flatter and the higher notes sharper this may help the clarinetist, but as simple as the piece
appears, it presents interesting tuning problems.
Track 10 (01:12:32)
Overture to A Midsummer
First four measures for woodwinds and horns Nights Dream
Tuned in Just Intonation - For Bb clarinets
Mendelssohn
#5th
ww
1st and 2nd clarinets
# # ww
# # ww
flutes
&c # # ww
major 3rd -14 +2 5th +2
root
minor 3rd +16 root
For A clarinets as originally written
n n ww
n # ww b n ww
flutes 1st and 2nd clarinets
&c n n ww
major 3rd -14 5th +2 5th +2
root minor 3rd +16 root
Advanced Intonation Technique
For Clarinets
A Method of Intonation Improvement
(revised edition, 2015)
--------Includes--------
Basics of Intonation
Using the Tuning Audio Tracks and tuner pick-up
Intonation exercises focusing on both Equal and Just Intonation
Specific tracks for Eb Soprano and Bb Bass Clarinets
Tuning techniques specifically for clarinets
Frequently Asked Questions
Helpful hints and observations
Resources and suggested reading
70 minute Tuning Audio File with 8 tracks (purchased separately)
Tuning tones and exercises
Bonus audio with tuning challenges
By John Gibson
JB Linear Music
www.music4woodwinds.com

Advanced Intonation Technique For Clarinets

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Advanced Intonation Technique For Clarinets

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Advanced Intonation

Includes intonation facts, playing exercises, and a separately

(revised edition, 2015)

Bonus music – interesting tuning challenges (Saint Saens Clarinet

Note Name Interval EQUAL (distance from JUST (difference from

Listen for the purity

The Tuning Audio Files

Using the Intonation Exercises

C. Track 4 This is an exercise concentrating on the interval of a 12th, an octave plus a

III. Tuning to the Interval of a 5th - Track 6 (00:25:52)

As an example, a ceiling fan running on high in the author’s

??? Frequently Asked Questions

This is harder than I thought. What should I do?

Why would it make a difference which composer wrote the music?

J.S. Bach invented Temperament, right?

Why would anyone need to play at a different pitch standard? Doesn’t

Here is a helpful chart of common intervals:

What is stretch tuning on pianos?

Do different types of instruments have a tendency to use a particular type

Other helpful hints and observations

Eb start on the œ ˙ #œ œ "A" clarinetœ ˙ œ œ

b œ (ww) ˙ N œ #(ww) ˙ œ (ww) ˙

D. Exercise for quick intonation adjustments ----TRACK 4 (00:02:38)----

beat beat beat beat tone

note 1 - unison = 0 adjustment

B. Tuning appeggios - Track 5 (00:15:20)

œœ œœœœ #### œœ œœœœ

tones - about 5th min 3rd maj 3rd

IV. Eb soprano - Track 7 (00:40:06) - Interval of a 5th in Just Intonation

IV. Bb Bass - Track 8 (00:54:22) -Interval of a 5th in Just Intonation

tones - about 5th min 3rd maj 3rd

maj 6th min 7th

For A clarinets as originally written

root minor 3rd +16 root

(revised edition, 2015)

Using the Tuning Audio Tracks and tuner pick-up

Intonation exercises focusing on both Equal and Just Intonation

Specific tracks for Eb Soprano and Bb Bass Clarinets

Tuning techniques specifically for clarinets

Frequently Asked Questions

Helpful hints and observations

Resources and suggested reading

70 minute Tuning Audio File with 8 tracks (purchased separately)

Tuning tones and exercises

Bonus audio with tuning challenges

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