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Doublereed Archive - Posting 000088.txt from 2007/10

From: David Lurie <klingsor@-----.com>
Subj: Re: [DR-L] Play loud ...and louder!
Date: Thu, 04 Oct 2007 20:58:14 -0400

At 01:34 PM 10/4/2007, you wrote:
>Wonderful story about Bruno Labate and the NY Phil A.
>Herb

What one is that?

>On 10/4/07 10:10 AM, "Miriam Williams" <mwquacker@-----.net> wrote:
>
> > Why not just use an electronic sound generator of some kind at rehearsals?
> > This could easily be turned up loudly enough so everyone could hear it.
> >
> > Also, don't violinists use electronic tuners as a matter of
> course. It seems
> > to me to be a sort of outdated practice to rely on the oboe, although to
> > keep the tradition of making sure everyone is tuned properly just prior to
> > the downbeat would be reasonable.
> >
> > I agree, it can be tiring to hold out 3 A's - how long *should* it be held?
> > A gripe I have is that others (especially choristers) who are not silent
> > when the A is called for. Apologies if this has been addressed already. I
> > have not read the previous posts & decided to just jump in here.
> >
> > My $0.02,
> > Miriam
> >
> > ----- Original Message -----
> > From: "Philip McKenzie" <philclimb1@-----.com>
> > To: <doublereed@-----.org>
> > Sent: Thursday, October 04, 2007 11:56 AM
> > Subject: Re: [DR-L] Play loud ...and louder!
> >
> >
> > When we start the concert, the concertmaster asks for 3 A's; winds,
> > violas/cello/bass, violins. After intermission, 2 A's: winds,
> strings. If
> > we tune in the middle of a longer piece, it's one A. Rehearsals and
> > concerts are done the same way.
> >
> > I'm playing those three As for a very long time each time. Too long. And
> > the tuning needs to be fairly loud. It's a self-perpetuating
> issue. If one
> > person plays loud to hear himself, the next person has to play louder also.
> > And on and on.
> >
> > In the land of amaters in which I happily reside, what would be ideal? 2
> > A's briefly played?
> >
> > And how to ratchet it back? Do I e-mail the conductor and concertmaster to
> > get their takes on whether it's actually a problem and what to do about it?
> > If there is an agreed upon problem, do we say something at the next
> > rehearsal. Should I do the whining? Should the concertmaster suggest?
> > Should the conductor require?
> >
> > Recently it's been mentioned on this list that an A called the Philadelphia
> > Orchestra back after breaks back in the day. Would a backstage A be a
> > reasonable addition to our protocol? Or a strikable A bar so any
> individual
> > could tune in advance of coming on the stage so the orchestra tuning is a
> > confirmation rather than an adjustment exercise?
> >
> > Phil
> >
> >
> > ----- Original Message ----
> > From: herb fawcett <herbgosia@-----.net>
> > To: "doublereed@-----.org>
> > Sent: Thursday, October 4, 2007 11:26:10 AM
> > Subject: Re: [DR-L] Play loud ...and louder!
> >
> >
> > One very important aspect of tuning is to play only the A. The varied
> > harmonics of other notes interfere with hearing any beat, which after all
> > the ultimate criterion of being "in tune" with the reference pitch.
> > The moving intonation as notes change function in the harmony etc. is best
> > attended to by the attitude among players of "be here NOW" so the needed
> > small adjustments are always in their awareness. Democracy is
> important even
> > in orchestral pitch. Leave the dictator on the podium where he cannot mess
> > up the pitch too much.
> > Herb
> >
> >
> > On 10/4/07 8:52 AM, "David Lurie" <klingsor@-----.com> wrote:
> >
> >> At 11:02 AM 10/4/2007, you wrote:
> >>> Read about the loudest tuning note in oboe history on my blog:
> >>> http://oneflute1oboe.livejournal.com/
> >>>
> >>> ~Angela
> >>
> >> I read what you wrote there, which I will quote as follows:
> >>
> >>
> >> For the Orange County Symphony, I refuse to give A while people are
> >> practicing/warming up/talking/wandering around/etc. The concertmaster
> >> stands up, things settle down, and *then* I play.
> >>
> >> At tonight's random gig, however, I was expected to give A while
> >> people were practicing. I waited... and waited... and the
> >> concertmaster grew impatient. With ME. So I proceeded to give the
> >> loudest freaking A that you have ever heard.
> >>
> >> That seems to me to be silly as well as amateurish in the extreme.
> >> This concertmaster obviously does not know how to perform the tuning
> >> job. In a professional orchestra, the concertmaster stands up if
> >> everyone does not quiet down immediately, taps his bow on the stand
> >> until everyone stops playing. then you play the tuning A. Also you
> >> should play the A softly, not loud, so that everyone will have to
> >> exert themselves just a little to hear it, and then not play too loud.
> >>
> >> Yes, I realize that tuning is pointless. Everyone is just going to
> >> play sharp no matter what. But if we're going to pretend to do it,
> >> then we should pretend to have a go at doing it right, with everyone
> >> pretending to listen to the reference pitch.
> >>
> >> I can perhaps be called a snob, like you, but tuning is not pointless
> >> if the group is serious. Obviously, the group you play in is NOT
> >> serious about it, so I can understand your attitude. But a serious
> >> group, will take tuning seriously. That the pitch rises is
> >> inevitable, no matter what group it is. But then there is no problem
> >> as long as it is held under control and the orchestra re-tunes often
> >> enough. That is a job for the conductor and/or the concertmaster. If
> >> they goof folks don't; know enough about how to do it, then perhaps
> >> you should start to educate them by initiating discussions concerning
> >> these matters.
> >>
> >> David
> >> /oboe snob
> >> <http://oneflute1oboe.livejournal.com/187465.html>Link
> >>
> >>
> >>
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> >>
> >
> >
> >
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>
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