Klarinet Archive - Posting 000132.txt from 1995/05

From: Fred Jacobowitz <fredj@-----.EDU>
Subj: Re: Woodwind Quintet Intonation Problems
Date: Wed, 3 May 1995 23:49:32 -0400

FWIW, I was told by various people, including oboists that the oboe reed
crows at a certain pitch and that the A, being a simple note to play, is
a very stable pitch, which reflects the oboe reed's natural tuning
accuracy. Therefore, on that one note the oboe's pitch is quite reliable (in
the hands of a competent artist, of course)

Fred Jacobowitz

On Wed, 3 May 1995, Gregory Andrew Seigel wrote:

> On Wed, 3 May 1995, Tom Ascher wrote:
>
> > I'm surprised by the post that refers to the oboe as having the most
> > intonation problems. I was under the impression that the oboe was the
> > most reliable instrument in the orchestra as far as intonation. Isn't
> > that why the orchestra tunes to the oboe?!
>
> My impression was that we tune to the oboe first for historical reasons,
> but second because they are the least adjustible - they can't really push
> in or pull out slides or joints.
>
> In my quintet, we are constantly fighting intonation. Most of our
> problems come from our hornist, but I find that the quintet makes many
> very subtle adjustments to the oboe. We have been working on _Summer
> Music_, for the last 6 months, and having gotten past the myriad ensemble
> problems in there, now we spend a good 60%-70% of our time dealing with
> intonation. That piece in particular is an interesting example to deal
> with pitch, as I understand that Barber wrote some of the sonorities
> based on a tuning exercise that the NY Woodwind Quintet was working on in
> a rehearsal.
>
> Best of luck - I don't think that we as musicians will ever escape the
> problem of intonation.
>
> Andrew Seigel
> gas11@-----.edu
>