The Clarinet BBoard

The Clarinet BBoard The C4 standard

New Topic | Go to Top | Go to Topic | Search | Help/Rules | Smileys/Notes | Log In

Previous Message | Next Message

RE: orchestral tuning

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 | Avail. Forums | Flat View

Newer Topic | Older Topic

Topics