 The Clarinet BBoard
|
Author: Bob Thomson
Date: 2001-09-28 07:01
I'm 1st clarinet in a fairly good amateur symphony orchestra and I have a question probably addressed to the orchestral players on this board and it regards woodwind section tuning. Our principle oboist (a very fine player with a lovely bright clear tone) routinely tunes us. We have noticed that she uses a tuning machine. As we progress into the rehearsal, we feel that we going "off" and many of us readjust individually to compensate with results that require general retuning. On the odd occasion that she's not at rehearsal or for some reason arrives slightly late, our second oboe is used to tune us. No tuning machine is used but we all seem to be able to maintain our tuning perfectly. Any comments please ? I appreciate that the solution may be simple, but I suspect the tuning device may be introducing a variable we might avoid.
|
|
Reply To Message
|
|
Author: John
Date: 2001-09-28 14:32
Dare I say the 2nd oboe is tuning your group at a pitch the group likes to play at? When the tuning note is at A 440 using a machine the group will reluctantly tune to it, but migrate thankfully to the pitch they really want. I have played in many amateur orchestras that do this.
|
|
Reply To Message
|
|
Author: William
Date: 2001-09-28 14:36
There are many factors related to tuning--temperature, accoustics, human "errors"--but the bottom line, here, maybe the natural tendency of all wind instruments to rise in pitch as they "warm up" while being played. The strings general pitch may also "drift" upward (with the winds) as they avoid the use of the open strings that they so religiously tune to the oboes opening A. Perhaps the second oboist, tuning without the tuner, is already tuning the orchestra strings (and everyone else) "above pitch" at the start so that the inevitable rise in pitch associated with wind instrument warm up is not so noticable. Even the best orchestras in the world do not play perfectly in tune at an extablished pitch reference (ex. A=440). There is always some give and take among the different instrument individuals and groupings of any sensitive musical ensemble, to arrive at a concensus of "in tune." In fact, due to the natural conflict between the "Just" (bases on the laws of the natural harmonic series that exists in nature) and "Tempered" tunings systems that humans use most often (pianos in particualr), absolute perfect tuning is impossible because the two systems are always used together in the accoustical dynamics of any instrumental or choral ensemble. So, starting out a A=440 with the tuner will most likely result in the eventual (and natural) general pitch consisous of A=442, or beyond, with most orchestras, professional or amature. My advice, keep listening and be flexable--Good Tuning is Good Cooperation. Good Clarineting (also)!!!!!!!!!!!!
|
|
Reply To Message
|
|
Author: Margaret
Date: 2001-09-29 14:53
I play 2nd oboe in several ensembles and I'm also a cellist. I find that giving the tuning note well before it is asked for helps everyone get into to tune. I'm not sure why this works. This is what I do if 1st oboe isn't there. 1st oboe does it as well while we are setting up. It is definitely helpful with our brass section. The oboe should sit between the harmonic range of the flute and the clarinet. When it does it is a glorious sound - the three instruments will lock together. Oboe reeds influence this a lot. It could be that 1st oboe with her "lovely bright clear tone" is working with a very flexible reed and after playing for a while she loses control of it.She could also be giving the tuning note with a lot of vibrato ( bad idea ! ) and getting everyone confused.
I find I have more trouble tuing with multiple oboes than I do a mix of instruments. As a second I have to be very mindful of my 3rds - always listening, always adjusting to 1st. I recently attended a first time band rehearsal in which four oboes showed up to play which was really two oboes too many ! Two oboes read the first part. I read 2nd with the other one. There was no way those two 1st oboes could get themselves in tune playing the same part. There were gross stylistic differences and instrument differences between the two players.
I don't agree with the comment about string players not using open strings and therefore their pitch goes higher. I don't think that is the reason. If an open string is indicated to be used in the music - that is what you play - not the same note on another string. That same note will have a whole other tone quality which might not be what the composer had in mind. Many modern orchestral pieces have soloist style parts for 1st violin on their highest strings so they go there for the brilliance and playing on the sharp side. It then becomes a conflict between them and 2nds unless the whole string section follows along. I sometimes feel that this may be why in many orchestras the string section is overly dominant. Tuning is fascinating.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
