Klarinet Archive - Posting 000759.txt from 1997/05

From: "Edwin V. Lacy" <el2@-----.edu>
Subj: Re: Pitch of tuning notes
Date: Wed, 28 May 1997 09:57:04 -0400

On Wed, 28 May 1997, Roger Shilcock wrote:

> There's some stuff on sneezy about the relationship between perceived
> intonation and tone quality. I think I have the same problem - the sound
> of my A is richer in lower partials than that of my B flat, and so the
> instruments are *different* to tune against other instruments, especially
> the infamous oboe. Why are oboe tuning As so often sharp? Any excuses from
> anyone

That's a complaint I have seldom if ever heard. More often, oboists are
accused of playing the tuning note flat, especially by string players who
believe their instruments sound "brighter" if tuned to a higher pitch.
In no orchestra or ensemble in which I have played has it ever been the
oboist who was responsible for rising pitch.

In answer to your other question, I won't offer any excuses, but I will
say a couple of things about the reasons the oboist may give an incorrect
tuning note. Generally, if the player is at least moderately
experienced, the pitch of the A as well as all other notes on the oboe is
determined by the characteristics of the reed. If the reed tends to play
either sharp of flat, the player is essentially at the mercy of the
reed. However, if an oboist consistently gives a sharp A, I would be
inclined to think that that player is either inexperienced or has not
given enough thought and practice to this important duty.

In the old days, oboists used to spend a lot of time practicing on
playing the A, then checking the pitch against a tuning fork. Then,
they often would hold the oboe in their left hand only while playing
the tuning note, resting the bell on their knee, and holding a tuning
fork to their ear with the right hand. Some of them would eventually get
to the point that they could consistently play the A within a half a
vibration per second of 440 even without the aid of the tuning fork.

Since the advent of the electronic tuner, the oboist now has a better
method of ensuring that the tuning A is in tune. But, due to the fact
that their ears are no longer required to produce this, the less
experienced oboist tends to have more difficulty playing the A exactly in
tune by relying on the ear only.

In the orchestra in which I play, the contract specifies that A=440 is the
official tuning standard, and that the oboist shall have a working
electronic tuner at the rehearsal for purposes of playing the tuning note.
I think it is becoming more common to have some version of this practice
in orchestra contracts.

Ideally, the better oboists eventually play the A at exactly 440 so many
times that they learn exactly what their instrument sounds like when they
play this pitch. Then, it is through matching that tone quality, rather
than being able to determine the correct frequency to within less than
one vibration, that they are able to tell when the A is in tune.

Ed Lacy
el2@-----.edu