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Re: Tuning Etiquette

Author: Craig Matovich
Date: 2006-12-23 14:18

I agree with CJWright and appreciate his thorough and thoughtful answers.

I started playing before electronic tuners, and was told by my first college teacher to be conspicuous in getting my own tone reference. Stick a tuning fork up to my ear, or tap a tone chime... because otherwise people would distrust the tuning note.

Later, when using early electronic tuners people still remained suspicious of the pitch and suggested things like the tuner needs 'recalibration'.

And all that was just to start the ensemble tuning process.

I've had the worst luck with military band trumpet sections for most of the reasons wroand states. After that, violas who want to tune sharp on purpose, even louding stating their intentions prior to tuning. Not belligerently, just a quick group discussion amongst themselves.

I asked one string player last week prior to a performance how she tunes her open strings. The answer was Pythagorian tuning and the cello player overhearing the chat agreed. I asked how they would remain in tune with the organ part of the performance since it was equal temperment and they both just stared at me. (Only open tunings in question here and this was a very friendly chat.)

Further, the same viola section I refer to uses digital tuners already... to check the oboist's pitch, then look at each other to nod in agreement or shake their heads in disapproval.

So, what are we to do? It remains a practical question and somewhat rhetorical based on history.

One other aspect of tuning behavior needing improvemet is players warming up and not stopping to hear the tuning note. Usually, brass continues after the comcert master stands for the tuning pitch. Again, not intentionally rude but they are lost in their thoughts.

Here is what I tried. I look at the concert master, but do not play. Seriously, after another 15 seconds they get rather upset, at first with me.
Then I look back at the brass, back at the concert master and shrug...
Then the concert master takes 'control' and setlles things down so tuning can proceed.

A couple cycles of this and the players become more attentive to the beginning of the tuning process. Now I just need nod towards the brass and enough said.

I don't play a FFF tone, but a good MF - F.

I tried something not too long back, play the low e first briefly, then the a. The 'shock' of the unexpected somehow increases the attention of others very quickly and they really pay attention to the pitch of the a. (Not sure if I will persist in this but its been somewhat successful as far as I can tell.)

Then there is the story of Tabuteau, having had his pitch criticised by the concert master, chasing him around the stage, reed knife out, threatening to slice the strings off the violin.

Somewhere in this mix of strategies lies a practical solution.

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