Author: d-oboe
Date: 2006-12-23 06:32
i don't agree with the loud A tuning - I really don't think there is a need. In my mind, the oboist should play the A, and then after 2-3 seconds, the pitch is established. If the ensemble (or portion thereof) can't memorize a pitch, and keep it in their brains for a few measly seconds, then it's not the oboist's problems, it's the ensemble's problem. Once everyone starts tuning, it's useless to try to continue tuning to the oboe, as everyone else will be slightly off as they check their pitches anyway. So, trying to tune to what is still being played (after the 2-3 seconds of A establishment) will only result in even poorer tuning. The oboist himself can't even be sure of his A, because once everyone starts playing, the tuning machine can't deal with that many frequencies. Even with a bell mic, the oboist can't really relate what he sees on the machine to auditory feedback from his own ears. (sidenote...people <fluuuutes> who REHEARSE with those freakin' bell mics and play all hell out of tune, and then glare at everyone else around them)
Having said all this, I do think the A needs to be solid, right from the first attack. No weak warbly starts...otherwise the ensemble will rush in before the pitch is established (as above). From the live ensembles I've seen, the ones with the most tuning success (and these are professional orchestras) are the ones whose principal oboist plays the "a" at about a mezzo-piano. Louder, and the tuning loses its delicacy. I don't know how to explain this...it just doesn't hold together for very long. Too quiet, and it sounds like no one is together at all....except maybe oboe 1 and flute 1.
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