Clarinet Tenon Cork

Clarinet Tenon Cork

A practical and comprehensive text on instrument repairs that commonly challenge the music teacher.

The enjoyment of musical performance by both the performer and listener depends on various constituents detached from the work being performed, two of these are the instruments tonal calibers and it is tuning.

The clarinet tone is dependent on the design and construction of the instrument , the clarinet reed and the skill of the player developed over a great deal of years of practice.

Instrument design and construction has gradually been bettered over the years and quality instruments are now competent of constructing a very fine tone indeed, given a good quality instrument the bore of the Clarinet will effect the tone and this has become a fashion thing which has varied over the years, a somewhat more spectacular diameter bore will construct more of a mellow tone than a littler bore which would be referred to as a bright sound, notwithstanding it ought to be recognised that the player has a great influence on the sound produced.

Factors effecting tone are the air supply and how the player controls it is flow into the instrument with the tongue together with the lips controlling the reed , a steady flow of air into the instrument is achieved by control from the diaphragm, I prefer to think of it as breathing into the instrument rather than blowing. A fine tone may only be devised by playing long sustained notes and slow tunes as part of the every day exercise over the formative years, in fact this aspect of exercise must always be share of the each and everyday routine.

Clarinet tuning is of course a very crucial percentage of the players activity, and yet it is an action which is ofttimes misunderstood by conductors and players, modern quality clarinets have come a long way in this respect the over the past fifty years but we still see players setting up their instruments incorrectly.

The availability of lowcost electronic tuners surely helps but acknowledgement of the rectify routine is many times missing. The body of most mutual instrument pitched in B flat is made in five parts, starting at the top we have the mouthpiece ,the barrel ,the upper joint, the lower joint and the bell.

At the end of the mouthpiece and the upper and lower joints cork covered tenon’s push into the barrel and the bell, the method of tuning most oftentimes adopted is to warm up the instrument by playing for a few minutes, temperature will cause the pitch to rise, and then with the joints pushed together play B with all holes covered, this will be a little sharp, then pull out the barrel to lower the pitch to the rectify level, unluckily this approach will put a lot of constituents of the instruments range out of tune!

The rectify method of tuning is to begin with all fingers off, this will give open G then adjust the barrel to fetch G into tune, then play B with all holes covered and pull out the centre joint to fetch B into tune, a good instrument will then be in tune over most of it is range, the most eminent register, above top C may need adjustment on a heap of notes with the players embouchure.

Clarinet Tenon Cork Pic

Clarinet Tenon Cork Pic

Clarinet Tenon Cork Pic

Clarinet Tenon Cork Photo

Most helpful client reviews

11 of 11 humans found the following review helpful.
An splendid introduction to band instrument repair.
By Clarinet
This little book provides a very helpful overview of some distinct elements of brass and woodwind repair. There are chapters dealing with clarinets, flutes, trumpets and trombones, as well as references to some other instruments. This book evidently can’t cover each aspect of instrument repair, but it does an magnificent occupation of providing utile info and describing, in detail, practical repair proficiencies for the areas it does cover. The author knows how to write well, also.

3 of 3 humans found the following review helpful.
Buying after borrowing
By Michael Rasmussen
I’m buying a copy of this book after returning the library copy. The writing is clear and easy to understand. Common troubles (example: middle valve sticking on a trumpet) are identified and covered, simplifying diagnosis.

3 of 4 people found the following review helpful.
OK–but limited
By J. Lindberg
Practical suggestions for the school music teacher. The fixed info when it comes to the saxophone is, I think, the weakest aspect of the text.

See all 4 client reviews…