Instrumental Tuning and Design - Proper Tuning Approaches

Instrumental Tuning and Design - Proper Tuning Approaches

Modern musical instruments, manufactured by responsible firms, have benefited enormously from investments in acoustical research and design consultation with artists. The overall standard of wind instrument manufacture has never been higher and the area of greatest improvement is to be found at the student level. While superior materials and expert craftsmanship contribute to making some older models highly desirable in the eyes of knowledgeable players the advent of computer aided design and assembly has brought about vast improvements in performance and pitch consistency for quality modern instruments across the board.

Tuning

Most markets around the world aim for A = 440 (UK, USA, Australia) or at most A = 442 (Europe). Austria is an exception where A = 444 or 445 is still a preference. Instrument manufacturers design their products to perform at these pitches under ideal conditions of approximately 72 degree Fahrenheit / 22 degrees Celsius, (i.e. room temperature). In practice there remains quite a lot for the player to understand and to learn to utilise to help her or himself to accomplish truly playing in tune.

Comfortable, room temperature conditions are rarely found in performance situations but since these are what are utilised at the design stage an instrument must be able to be played both above and below the intended ‘ideal’ pitch in order to accommodate adverse conditions.

Flute – the head cork must be in the correct position – check this with cleaning rod line - it must show up in the middle of the embouchure hole. The headjoint itself is usually pulled out from the fully ‘pushed-in’ position approximately 3-5mm (sometimes more) depending upon blowing style, angle of air stream and embouchure. Too far out and the player is must compensate for flat low notes, splitting tones and a dull high register – too far in and the compensation is all downwards with the lip and blowing angle. Overblown octaves, harmonics of 12ths and double octaves should all nominally ‘line-up’ when tested. The player must then handle smaller adjustments for pitch accuracy and tonal colour. The general tendency of the flute is towards sharpness especially in the upper register and when playing loudly. Pitch will sag when playing soft without great care and good air support from the player.

NB – on all other instruments the tendency is for pitch to sharpen when playing more softly.

Clarinet – Instrument manufacturers intend that a clarinet, when pushed all the way in, should play sharp. Student instruments are frequently supplied with shorter barrels to allow for tuning to fixed pitch instruments (i.e. a piano or keyboard) when played by inexperienced beginners. Therefore, when played by better players and especially once warmed up, the barrel should be ‘pulled’ usually 1.5- 2.5mm. This will bring most pitches into line but some additional ‘distributive’ tuning may be necessary. This is accomplished by pulling out at the middle joint and or bell in more extreme cases. Sometimes a particular mouthpiece will have a tendency to play sharp or flat and by changing this an otherwise ‘difficult’ instrument will come into line. The Vandoren series 13 range was created with the desire to help players ‘bring down’ pitch to A = 440 where necessary. Professional players with well-developed embouchures and settled playing concepts often use longer barrels in order to create the most stable possible pitch platform throughout the full range of the instrument. Key/pad venting height is a factor in the evenness of both pitch and tone colour and must be sensitively examined for optimal playing. The clarinet’s general tendency, unique among the woodwind family as it over blows at the 12^th rather than the octave, is towards flatness, with the exception of the throat tones which are often sharp and thin and the upper register that is often played with too much lip pressure and can tend towards sharpness. Middle Bb2 and upper C3 are particular concerns for many players. The addition of fingers of the right/left hand (sometimes referred to as resonance fingering) is often done to help the tuning of and enrich the sound of throat register A2 and Bb2.

Oboe – Most oboists count on their oboe to be as stable as possible so that their tuning is done with the reed, often choosing the staple length and the overall tied length of the reed blades specifically to match their instrument. The oboe is highly flexible and playing fatigue and the condition of the reed will continually affect pitch. In the correctly assembled position the reed should be pushed completely into the receiver socket. This is the optimal playing position. It is best practice to avoid pulling out the reed to try to adjust pitch downwards as this creates other problems by introducing a ‘bulge’ to the bore where the staple has been pulled back out of the socket. The player handles small adjustments for pitch and tonal consistency with the position of the reed on the lip and air support. The natural tendency of the oboe is toward sharpness especially as tiredness sets in. Reeds tend to drop in pitch as they tire or close up. The upper register, due to the difficulties of production, is often quite sharp and care must be taken. Too heavy a reed will lead to sharpness due to the effort of involved in producing a tone – too soft and the sound will be thin and pitch will drift downwards.

Bassoon – The bassoon is such a long instrument that corrections made by pulling the crook out from the receiver socket, affecting as they do only the shorter wing joint notes, are virtually pointless. The player usually has a choice of crook lengths provided to them with their instrument and most will use a number 2 (crooks are available from a nominal 0 to 3, the higher number being longer and therefore providing a lower pitch level). Distributive pulling at the joints can help in a severe tuning situation (being sharp but needing to play at a lower pitch) but keywork linking across the joints is a limitation as is the undesirable introduction of a gap in the bore. Like the oboe pitch adjustments are often made at the reed and this can be successful for the shorter tube notes, principally E and F, but notes with a longer sounding tube length will not benefit nearly as much from reed adjustment alone. The tendency of the bassoon is towards sharpness, especially in the low register. This is an acoustic choice for if the instrument were absolutely to pitch in ideal conditions it would be impossible to bring up the pitch of the long tube low notes when cold. Players become used to keeping pitch down by playing with a relaxed embouchure, internal tongue position in the oral cavity and solid air support.

Saxophone – The saxophone has very flexible mouthpiece positioning on the crook and the resulting pitch is highly dependent upon good embouchure and air control from the player. There are known acoustical compromises in the tuning of the sax but as the general tendency is towards sharpness the player must be very careful not to start with the mouthpiece position too far on the crook cork as all notes will then be sharp, especially the high register. One should not pull off too far either (a decision often prompted by an attempt to compensate for a poor embouchure understanding and improper air support), as this will distort the shortest notes disproportionately and throw off the balance of the response throughout especially the low register. Players must work to learn to support well and relax the embouchure as much as possible and when this is well understood the instrument settles into a manageable and predictable pattern. Tuning is highly influenced by mouthpiece selection and high baffle jazz mouthpieces in particular often require great skill from a player to be able play well in tune, as they will tend to tune more sharply.

Valved Brass – If an higher range brass instrument (trumpet or cornet) has been properly manufactured it will play it’s intended ‘ideal’ tuning pattern with little mechanical adjustment beyond a pull of the main tuning slide and secondary pulls for specific notes at the moveable 1^st and 3^rd slides. The player must work within the acoustical limitations of the instrument to compensate with the lips for small idiosyncrasies. The larger the instrument the greater will be some of the known acoustical distortions and for euphonium and tuba especially additional valves, compensating mechanisms and tubing lengths are often added or manipulated to assist in obtaining better tuning in all registers, especially the low register. The french horn, being a very long tubing instrument, is played almost exclusively in the mid to upper range of the available tones and as a result produces quite a stable pitch platform. Never the less it does have some very distinctive tuning requirements. It is fair to say that well made instruments are intended to be able to play in tune with a consistent, minimal distributive pull of the valve tuning slides as long as the player plays with a good embouchure and airstream and is prepared to make further subtle adjustments with the bell hand.

Trombone – Aside from a standard pull of between 1–2cm at the main tuning slide all the rest of the tuning for a well-made trombone is accomplished between the slide positions, the player’s embouchure and solid airstream. Some instruments have their own individual acoustical ‘quirks’; but of all the brass and woodwind instruments the trombone has the greatest ability to be played ‘in tune’ with few mechanical limitations. The trombone relies more than anything on a player’s hearing and relative tuning recognition for correct pitch placement as well as the ability to consistently supply the instrument with the correct air and embouchure balance.

----------------

The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers

How Do I know What Instrument To Play - FAQ Advice for Beginners Of Any Age

 How Do I know What Instrument To Play

FAQ Advice for Beginners Of Any Age

Are you new to playing a woodwind or brass instrument? Perhaps looking to help a child get started?  Below you will find some of the most frequently asked questions that I have encountered over many years of advising customers - and some answers that I hope may help.

FAQs

How do I know what to play?

Most decisions regarding what instrument to play are made by falling in love with a sound an instrument makes or after taking inspiration from a performer for recording. This is a good enough reason for many choices as the desire to practise and achieve is vital to success on any instrument and if you love the process of working at an instrument so much the better!

There are some practical considerations however:

• Players with large lips may find the flute embouchure (the way you shape your mouth) difficult and would be better off with a reed or brass instrument. 

• It is best to start with an appropriate size instrument for the age as hand size and arm length are vital to holding standard models. For the younger/smaller player ‘child-size’ models for flute, clarinet and alto sax are available. These are often referred to as Kinder models. Bassoon is best left until a player has the height to hold a proper sized instrument though so called ‘short reach’ versions are available where hand size has not caught up with height! 

• It is important that teeth be in place before a child starts a single reed instrument (clarinet or sax) as the mouthpiece position relies on contact with the upper teeth.

• Players of oboe and bassoon need to be extra patient as they have to come to grips with the demand of their finicky double reeds and often beginners need to rely on a good, often specialist teacher for years to keep them playing.

• Clarinet and saxophone are closely related and playing one often leads to playing both with some ease.

• Small children interested in brass instruments are best advised to begin on cornet (rather than the longer trumpet) or specially designed beginners trombones or french horns rather than larger brass like tenor horn, baritone horn, euphonium or tuba. As the playing technique is similar for all valved brass instruments learning on one can lead to any of the others in the future. Teeth should be in place before starting any brass instrument. 

• Players with larger lips or wider teeth structure are often directed towards lower pitched / larger size brass as they grow as these instruments are often more comfortable to play – and sought after in ensembles.

What is a Woodwind or Brass instrument?

• A woodwind instrument is one that is played with the air stream (breath) either directly, like the flute or recorder or indirectly by vibrating a single reed, like the clarinet, saxophone, or double reed, like the oboe or bassoon. Despite the family name not all are made of wood. Flutes and saxophones are made of metal, nickel silver or silver in the case of flute, brass (with few exceptions) for saxophones. Oboes and bassoons are usually made of wood but some good quality student instruments are made with plastic bodies to keep costs down and reduce maintenance.

• All brass instruments are played with a vibration supplied via buzzing of the lips. The may be finished with a lacquer (looking golden yellow) or in silver plate, bright and shiny silver. Underneath the finish they are all made of metal, usually brass.

Are some instruments more difficult to play than others?

Every instrument has a blowing technique to learn. Some with be larger and require control of more air, often referred to as more ‘puff’. Some play with greater resistance to generate the sound, not necessarily harder but a bit more physical. Some take some getting used to as they play so easily that they are easy to overblow. It is fair to say that almost all instruments are possible to play when there is a determination to do so but that good advise, patient guidance and a reliable instrument and mouthpiece are always helpful.

Should I purchase a new or second hand instrument?

• New instruments are one way to guarantee (as much as one can) the excitement off starting off the learning experience with everything going for the player. They will have the latest designs and supporting warranties in place and be able to be recommended by teachers and schools as readily available. They will often have available rental or trial schemes to help bring confidence to the parent looking for a demonstration of desire and practice on the part of younger beginners.

• Good condition second hand instruments, when available, can be a good value as the instrument will have had some depreciation in cost already but the buyer should be aware that the playing condition of instruments do vary greatly and it is best to be sure that an instrument has been service before being offered for sale and a warranty of some length is in place.

• In general buying through auction sites and pawnbrokers is best left to those with experience who can afford to take a risk. Such purchases can lead to disappointment for vulnerable pupils and parents.

Should I consider renting?

• In most cases where a child has had some prior successful experience of music, perhaps on another instrument, e.g. piano or recorder, then a parent can have reasonable confidence that a good result will come from purchase outright. If you are concerned you can ensure a buy-back position or willingness to sell an instrument on your behalf at a later date from a full service shop.

• If there is some question about how successful the learning will be a rental scheme with benefit towards purchase may be desirable. This allows for supply of recommended new instruments with a split of payments and a delay of the decision to purchase until confidence is gained.

• If there is a lack of confidence in the whole project but still a wish to ‘give it a go’ then a straight rental on an instrument will allow player and parent to see if things are working out well. If they are then the return of the rented instrument when you are ready to purchase new or second hand instrument with confidence is possible and if things do not go well, then return of the rented instrument will cancel all arrangements with minimal expenditure.

What makes a shop a ‘specialist’ shop?

The short answer is a business that really knows and cares about the products it sells as opposed to a warehouse operation that sells boxes. In the case of musical instruments this is usually taken to mean a business that offers a wide range of products and attempts to understand them and seeks to offer the best combination of price, performance and long-term value to its customers. In house repair service is a key part of the equation as is a knowledgeable sales team and a willingness to ‘go the extra mile’ when unusual requests are made. We try to meet these criteria on all counts.

At what age can a player begin to play?

           When they are physically ready to handle their chosen instrument and responsible enough to do the practise required.

How much time should a new player be prepared to practise each day / week?

‘Little and Often’ is frequently quoted by teachers. The general advise runs to 15 minutes or so, ideally each day, to ensure good progress. For some instruments this will be physically taxing in the early days but regular practice in smaller quantities is usually better than cramming in lots of playing just before a lesson. As ability grows and the enjoyment with it so will the time spent.

What do I receive with an instrument?

Most instruments are supplied as ‘outfits’ that will include a mouthpiece and case. Clarinets and saxophones will also have a cork grease, ligature and cap supplied; saxes will also have a sling provided. Flutes will have a cleaning rod.

What else will I need to get going?

           Reed instruments will require reeds to be purchased, often individually at first, later in quantity. Cleaning materials are sometimes required or simply better quality care items than provided by manufacturers. Some brass instrument outfits do not come with oils that are very important for maintaining valves right from the very start.

Do I need a teacher¹s help?

Early instruction by an informed and resourceful teacher is often very worthwhile. This can help avoid problems and frustrations and can make the difference between success and failure. It has to be said that some individuals manage without but they are few and often realise much later that many problems or mysteries are explained with simple guidance from someone who ‘has been there before’.

Do some instruments lead on to others?

• Yes. Woodwind players are frequently asked if they can play other woodwinds.

• Recorder players often play the entire family of recorders for interest and ensembles. 

• Flute players add piccolo and other flutes when they are ready. 

• Clarinet players often add saxophone and the rest of the clarinet family to much enjoyment. Sax players play multiple saxophones, all with the same technique, and are often expected to play flute, clarinet and sometimes double reeds. 

• Trumpet players will be asked to play cornet or flugelhorn interchangeably.

• Low brass players will often move between Baritone, Euphonium and Tuba with ease and some also trombone.

Are some makes of instruments better investments than others?

Instruments of quality, from established manufacturers tend to hold their value and have a greater recognition value when sold second hand. They will also tend to last longer in use. Customers are often then able to move directly from good student instruments to higher intermediate or professional models when progress warrants and have a valuable item to part exchange or sell on. Poorly made instruments with little or no name recognition can be a false economy, even when purchased cheaply as they can be difficult to resell and are often costly to maintain.

How long will a student instrument last or serve well in use?

This can depend on how quickly a player progresses and how critical they are in their expectations. Good quality student models will usually serve a player very satisfactorily until at least Grade 5 standard with some continuing on to Grade 6 or 7. Often a supportive teacher will suggest an upgrade of mouthpiece for clarinet, sax or brass players around grade 3 or 4 as this can provide a big benefit in sound and control. Flute players reaching Grade 5 or 6 are often recommended to consider moving up to a flute with a precious metal (silver) headjoint as this will improve their sound quality. Brass players move up to better instruments, often around grade 4 or 5 when they are ready to provide a stronger and more developed air stream and are looking for a more centred sound.

What makes a professional instrument ‘better’?

The quality of materials and amount of time spent in construction as well as some additional features that are often of no interest to beginners. It is fair comment that if someone does not notice the difference between a student instrument and a professional one in a play test then they may not be ready to make a change.

How can I best care for an instrument?

            Clean it regularly and keep it from being knocked about by storing on an instrument specific stand or back in the case. In the case of woodwinds this means removing moisture when packing away, greasing cork joints and for all wooden instruments being aware of extreme temperatures that could cause problem with the wood. For brass instruments oiling the valves and greasing the slides

What is covered by a warranty?

Manufacturers cover all aspects of their own manufacture and materials. Responsible specialist shops will cover additional aspects of performance related to set-up and function.

When can a player expect to begin playing with others in a group?

Almost straight away. This depends upon music reading and listening skills as much as instrumental ability. We encourage playing in ensembles at the earliest opportunity as playing with others is one of the most enjoyable experiences in music.

What music is available to play?

There is a huge range of music from traditional repertoire for recital and concert performance, exam music, duets, trios, jazz and rock materials, music with CD backing for playing along with and of course larger groups such as bands and orchestras.

Instrument Specific Background

 Recorder – This is the traditional school starter instrument for young players. It makes a great introduction to music making for wind players and allows encourages music reading skills and finger technique that transfers to all woodwind instruments.

Flute – Light, fast, brilliant and thrilling as wells as intimate and expressive the flute is often compared to the voice in its quality. The highest voice of the woodwind family the flute has been and remains very popular for players of all ages and in many different contexts.

Clarinet – Cool and moody or hot and jazzy the clarinet is both facile and languorous. It fits in almost anywhere and has a great tradition in learning as an excellent starter for players of any age. A well established solo and orchestral instrument. The discipline learned on the clarinet can transfer well to all other woodwinds.

Saxophone – The wind instrument of the times it seems the saxophone is everywhere on advertising, in rock and jazz and in the media. The sax can be mellow or brash, played hot and fast or cool and bluesy as well as classical. A great all round chameleon that is reputed to be the easiest of the woodwind family to learn.

Double Reeds (Oboe & Bassoon) – Characterful, pungent often rough in tone as well as haunting and humorous the double reeds are individualistic instruments which reward the patient player who likes the idea of being special.

Trumpet & Cornet – Strong and brilliant, able to play in a wide mix of situations as soloist or ensemble member including the Wind Band, Brass Band, Jazz Band and the Orchestra, the trumpet for cornet are the powerful leading voices of any group. Great for the player who wants to be heard and noticed!

Trombone – A real clown of the brass family as it slides around and interrupts the ensemble. It can be played as beautifully or as forcefully as one would wish. The trombone is welcomed in all manner of ensembles and in all styles from classical to jazz and it is a highly versatile and exciting.

French Horn – Elegant and refined the horn is one of the most respected members of the brass family. Players must have a particularly good ear and lip control for accuracy. Primarily a solo or orchestral instrument it never the less has a role in the wind band and even is a regular member of the Woodwind Quintet.

Harmony / Low Brass (Tenor Horn, Baritone Horn, Euphonium & Tuba) – Low brass are a great deal of fun helping as they do to support larger ensembles. As solo instruments the bigger brass like baritone horn, euphonium or tuba are for players who like to be different and are glad to play on their own. These are quite large instruments in their cases and will require a willingness to be carried about but as players of these instruments are often few in numbers they are rare and always welcomed in ensembles!


-----------------
 
The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers