 The Clarinet BBoard
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Author: Aussie Nick
Date: 2002-08-31 10:50
I've heard myself on many live recordings of concerts, and I'm usually well aware (before I hear it) of whether or not I had intonation problems or what have you.... I recently got to play Bruckner 6 and Massenet's Scenes Picturesque with my youth orchestra. After hearing the cd recording the Massenet was fine, but I was quite noticably sharp in pitch in many solo sections of the Bruckner. During the performance I felt relatively comfortable with my pitch (usually it's the 1st oboe, horns (sometimes trumpets) and of course strings that are all over the place when it comes to consistancy in intonation. I was really annoyed at how terrible (in my own critical opinion) I sounded. Is this common, or is it just a case of my ear not being at its best? Can recordings sometimes be decieving? The conductor did mention to me that there were a few scary tuning moments in the winds, but I didn't realise it was me
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Author: William
Date: 2002-08-31 15:29
Recordings and like mirrors--they only relect what is presented. I to have been shocked by my own recordings and have always tryed to use them at least as "learning experiances" and vow not to let certain things occure in future playings. While listening to a recording of Premire Rhapsody, played by Harold Wright, I was some-what relieved to hear that he--one of the greatist clarinetists of our times--also had servere intonational problems during some of the higher passages. No one is perfect, and we can all learn a lot by looking into our own "mirrors" from time to time. BTW, good intonation is really good cooperation--in an ensemble, it is not an individual effort, but rather a copperative listening and adjusting process practiced successfully (hopefully) by all members of the group. What you are hearing was probably not all your fault and the fact that you can recognize the errors in pitch is a positive thing. Keep listening all yhou can, and good luck--you'll do just fine!!!!
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Author: Aussie Nick
Date: 2002-08-31 15:51
I know that good intonation is about ensemble cooperation etc etc, but unfortunately in many youth orchestras you get a mixture of experiences and more inexperienced players. That is why I singled out the 1st oboe and horns, trumpets and some strings. They spend so much of rehearsal time trying to match each other etc. I have played in other ensembles of a more even standard where I have found general intonation not a concern at all because there is cooperation and listening going on all around. Sometimes in the youth orchestra it can be very difficult to maintain stable intonation when there is so much varience in pitch going on around you (I find this anyway), so perhaps it wasn't all my fault. Anyhow thanks heaps, William, for your reply.
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Author: Wes
Date: 2002-08-31 15:58
Yes, don't feel that it is all your fault. It's a two way street and, in some groups, it may not be possible to match all the pitches. If you use a tuner in your practice, learn the character of your horn, and listen carefully you can do the best possible under the circumstances. The first oboe must have a stable reed before he/she can get in the ballpark of the general pitch and this is often not the case. The flutes are notorious for third register sharpness, especially when they don't practice enough. Good luck!
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Author: Ken
Date: 2002-09-01 00:44
William wrote: While listening to a recording of Premire Rhapsody, played by Harold Wright, I was some-what relieved to hear that he--one of the greatist clarinetists of our times--also had servere intonational problems during some of the higher passages.
--I wouldn't argue the point and it's entirely possible he was off that day. I'd however like to hear that recording/rendition for myself. In respect to the clarinet master, I can't imagine Harold Wright ever experiencing "severe" intonation problems (in the strictest sense of the word) and problems blending with any ensemble or by himself for that matter even if he was blind folded with both arms tied behind his back and forced to trade 4s with the Dixie Chicks. I'd be interested to hear if the ensemble was really listening and following through the tough spots or just on automatic.
I've made it a way of life and regular part of my practice sessions and live performances recording/scrutinizing myself and it's proven to make a major difference in ongoing development and self-improvement. Mainly, trusting my ear, musicality and relational pitch to the ensemble whether accompanied or not. Some consider it vain/conceited to record oneself; I've found it an invaluable tool and vehicle in moving forward and evolving as a musician. Comparing yourself to yourself is an essentail dimension to the process. One can't possibly have a clue where they're "going" if they don't know where they've "been". v/r
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Author: David Spiegelthal
Date: 2002-09-05 13:46
Listening to recordings of one's own recordings is extremely beneficial to the growth process, I've found. I'm an amateur recordist with a collection of decent reel-to-reel tape machines and a pair of pretty decent microphones, and I always try to set up the deck and record every community band/jazz band/community orchestra/wedding band concert I play, partly so I can hear what I really sound like. As the result, I've made many changes in my playing, changed mouthpieces, and changed entire instruments, in order to make the sound that actually is being projected to the audience approach more closely the sound I'd LIKE them to hear. Very valuable.
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