It takes courage to try to change the world but to some of us, it is worth it. Listening to out of tune bands could be a thing of the past if only the band world would take note. Below I will discuss the reasoning behind clarinet tuning as opposed to tuba tuning and if you have a strong opinion either way, please send me your views so that this problem can finally be exposed and hopefully corrected.
Why Tuning to a Clarinet Works
1. The clarinet’s tuning note (Bb) is in the middle of the pitch range for the majority of the band instruments making it closer to the majority of the players tuning note.
Download this document- The Frequency Spectrum, Instrument Ranges, and EQ Tips instrument chart
2. The clarinet note lies more in the middle range of the human ear which makes it more recognizable by the majority of the players.
3. Being a reed instrument, the clarinet is better equipped to center and reproduce the tuning note more consistently than the same note played on an instrument generating vibrations through the use of lip muscles.
4. The first chair clarinet is in a position whereby all the players of the ensemble are positioned to better hear the tuning note.
5. The tone quality of the clarinet is much more centered which makes tuning much easier than tuning to the notes played by brass instruments.
Clarinet sine curve on top Tuba sine curve on bottom
Why Tuning to a Tuba Does Not Work
1. The Tuba’s tuning pitch (Bb) is below the usable range of all the wind instruments in the band with the exception of the trombone, euphonium and tenor saxophone. (refer to diagram- The Frequency Spectrum, Instrument Ranges, and EQ Tips)
2. The low frequencies of the tuba are more difficult for the female members of the ensemble to hear than their male counterparts. In school bands, more girls than boys tend to play most woodwind instruments, especially flute, and more boys than girls tend to play brass instruments, saxophone, and percussion.
Read from the following- (http://en.wikipedia.org/wiki/School_band)
3. The majority of members of a band are most often females. Due to the fact that females are not as sensitive to the low vibrations of a tuba, the majority of the players are at a disadvantage when tuning to that instrument.
Read from the following-(http://www.ask.com/wiki/Hearing_range?oo=2739&askid=176bd9bb-1deb-4cf2-b339-1be29ee006c0-0-us_gsb)
“There is a difference in sensitivity of hearing between the sexes, with women typically having a higher sensitivity to higher frequencies than men.[4] The vibrations of the ossicular chain displace the basilar fluid in the cochlea, causing the hairs within it, called Stereocilia, to vibrate. Hairs line the cochlea from base to apex, and the part stimulated and the intensity of stimulation gives an indication of the nature of the sound. Information gathered from the hair cells is sent via the auditory nerve for processing in the brain”.
4. The position of the tuba in an ensemble, whether in the center, back row or on the left or right of the band makes it more difficult to clearly hear the tuning note played by the tuba.
5. The sine curve produced by a tuba is much more vague than that of a clarinet and thus more difficult to match in pitch. (See sine curve above).
I have limited my examples to five for any more would be needless. Because of these proven disadvantages of tuba tuning, it is only logical that those currently practicing this method of tuning should consider returning to the earlier method (tuning to the clarinet) so that our bands will once again perform in tune as it should be.
My next and final post on this subject will deal with any comments sent to us and the misguided idea that “tuning from the bottom up is the way to tune”.
HOGWASH!
Firstly, your point 2&3 is pretty much the same, but more seriously they are hogwash. Females (as shown in the citation you’ve used) are more sensitive to “higher frequencies” than men are. This is not to say that they are less sensitive in lower frequencies.
Secondly the evidence surrounding this is thin.
A better argument is that tuning is pretty much about detecting differences in frequency (which usually manifests it self as pulses where the mismatching frequencies). The more of a mismatch, the more frequent is the pulsing effect.
However, when tuning against a tuba where the fundamental frequency is way below most of the orchestra (wind orchestra anyway, this advice doesn’t apply for a tuba orchestra) you are in effect tuning the weaker overtones of the tuba – where the pulse effect would be less pronounced than for two signals of similar fundamental frequency.
Similarly it is common to tune to oboes in orchestral settings (for a variety of reasons), mainly because they are pretty much in the middle of the spectrum frequency-wise and they project such that they are distinct even when everybody is tuning. Tubas, not so much.
Ahh, Wikipedia… what a useless source of information…
It’s from my experience, that the woodwinds were generally struggling more with intonation than brass, irregardless of sex or age.
Your comment regarding the usefulness of Wikipedia is interesting.
What other one stop source of information do you recommend?
When speaking of ones own experience, I can not argue with your conclusion even though it differs from mine.
It’s just that anyone can edit Wikipedia, so there’s a huge claim that the accuracy of Wikipedia is questionable.
No one can edit Wikipedia, they can only contribute to it.
As a tubist, I sort of agree with this. But I absolutely disagree with the choice of clarinet. It should be the oboe. The oboe has the most clear sound against which to hear pitch discrepancies. It is also an equal temperament instrument and does not have the inherent difficulties associated with the harmonic series which can often compromise the tuning note.
That said, in typical band settings, I find that it is usually the woodwinds who have the poorest pitch awareness. Equally tempered instruments get brainwashed sometimes into thinking that if the tuner says it is in tune, then it is. Brass players typically learn that when the beats go away it is in tune and find that woodwinds often have a harsh sound to the major and minor triads if played in equal temperament.
Just intonation is the tuning system where chords sound in tune and you have to bend as much as 30 cents to play some notes in tune (dominant 7th is 30 cents flat relative to the equal tempered pitch) .
We should take an upper instrument note because the upper voices are the melody, and as such must be the pitch focal point, it makes sense for the instruments that are more rigidly equal tempered to tune to one that is equal tempered. The brass players who are typically more pitch aware and who must adjust to the melody and cannot count on their instruments to resolve tuning difficulties should tune to the focal point.
So yes, I’m more or less fine with clarinet tuning, but not for the reasons you mention, but rather because it is drilled to equal temperament.
What a refreshing moment I have had after reading your comments.
As for your suggestion to use an oboe, I agree and I must admit that my choice of a clarinet was based on too many years of playing in traditionally tuned bands. Your suggestion for an oboe “trumps” my suggestion for a clarinet.
It is not often that I am challenged and subsequently over powered by a stronger argument. In your case, I have been.
I bow to your comments and I would like to thank you for enlightening both my readers as well as myself.
VERY COOL MY FRIEND!
Thanks, or to put it a little less diplomatically, beware the conductor who trusts the open third partial of a Conn 2X J or Holton 345 to be in tune! Although there are a few Holtons that play that note in tune, it’s just because the quality control is not as consistent as the Conns, on which 100% play that note 20 cents flat (or worse).
In all due respect, the tuba is the foundation of 95% of the chords in root position of all band literature often doubled up an octave by the bari sax, bass clarinet, bassoon and euphonium so you are setting up a bright sounding, out of tune band. You probably end up throwing the pyramid of balance and sound upside down from tuning from the clarinet.
Secondarily, tuba players and most euphonium players live and sleep with their tuner. This is coming from an euphonium player who doubles on tuba when needed.
I will wait for the Roger Bobo’s or even Stevens Mead’s et al to read and / or comment about this.
Thank you for your comments and I will respond as best I can.
1. the tuba is the foundation of 95% of the chords in root position of all band literature
True- the tuba most often plays the root of most chords.
2. often doubled up an octave by the bari sax, bass clarinet, bassoon and euphonium so you are setting up a bright sounding, out of tune band.
I don’t understand what your saying. Do you mean that the addition of other instruments to the root position tuba note will cause the band to be out of tune?
3. You probably end up throwing the pyramid of balance and sound upside down from tuning from the clarinet.
Who came up with this “pyramid of balance and sound” dribble?
4. Secondarily, tuba players and most euphonium players live and sleep with their tuner. This is coming from an euphonium player who doubles on tuba when needed.
Few players are able to gain benefits from “living and sleeping with their tuners”. You have to use them to do any good.
5. I will wait for the Roger Bobo’s or even Stevens Mead’s et al to read and / or comment about this.
Due to the fact that this is primarily a trumpet post, I wouldn’t hold your breath that either would grace our page with their presence. But, I would be more than willing, as a one time student of Arnold Jacobs to discuss this issue with them.
Thanks for your comments.