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Klarinet Archive - Posting 000033.txt from 1999/01

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] re:nope, I didn't pen that
Date: Sat, 2 Jan 1999 09:59:46 -0500

On Sat, 02 Jan 1999 08:18:47 -0500, reedman@-----.com said:

> From: "Edwin V. Lacy" <el2@-----.edu>
>
> > In my experience, we learn to play in tune by playing with players
> > who play in tune. That's both the good news and the bad news.

[snip]

> A suggestion from me would be to play more duets. Then there is only
> one player to contend with "variable intonation". Be sure to listen to
> the bass part (basses, tuba, low instruments) to tune if in an
> ensemble. Of course you have to be in-tune with the players around
> you, but the bass part is what sets the harmonics.
>
> David Blumberg

I've also found that the tuning meter is most usefully employed in
setting such a 'bass line'. Playing on different period instruments
that are anyway more sensitive to temperature and humidity, I find
myself more 'intonationally challenged' than I sometimes am on modern
instruments:-) This is particularly true in an orchestral wind section.

If I put on a reference tone that corresponds to the tonality of part of
an orchestral passage, and play to that, stopping to change it to
another note as and when required, I find that I learn more about my
intonation than I do by keeping the machine in 'listen' mode and playing
to the needle. The process can also help me understand the passage
better.

It's rather like playing a duet with a consistent, if inflexible
partner.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

"Believing Truth is staring at the sun
Which but destroys the power that could perceive."

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