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Doublereed Archive - Posting 000095.txt from 2007/06

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Re: doublereed Digest 16 Jun 2007 21:01:02 -0000 Issue
Date: Sun, 17 Jun 2007 15:40:41 -0400

Isn't it nice, though, to be able to accommodate the pitch differences
inherent in a note when it is the third of a tonic triad or a leading tone
in a dominant triad, or a seventh in a diminished chord, or when the bassoon
is contending with a very flat D in a passage of Brahms (a pleasantly sharp
note on most oboes I have met)? I prefer a scale that doesn't restrict me to
an effect like having frets on the fingerboard.
Herb

On 6/16/07 3:13 PM, "Gerhard Veith" <gerhard.veith@-----.de> wrote:

>
> This is quite the opposite of my experiences. The longer I play, the clearer
> it has become to myself that I sound better when I don't have to push notes
> around. This goes as well for orchestra or ensemble intonation as for every
> aspect of the tuning of my own equipment, be it reeds, staples, bocals, or
> instruments. The less I have to worry about intonation, the better I can
> sound.
>
> Best regards,
>
> Gerhard Veith
> Augsburg, Germany
>
>
>> Date: Sat, 16 Jun 2007 13:18:18 -0400
>> To: doublereed@-----.org
>> From: "Ed B. Flowers" <flowerse@-----.net>
>> Subject: Re: [DR-L] Re: 21 yr old Elizabeth Koch, Curtis dropout=ASO
>> Principal
>> Oboe
>> Message-ID: <46741B5A.9000408@-----.net>
>>
>> ......
>> Apparently out-of-tune scales are the
>> price that you pay for better tone. The in-tune oboes and clarinets that
>> I've played didn't have nearly as nice a tone.
>>
>> Edward B. Flowers
>
>
>
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> For personal help: email doublereed-owner@-----.org
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