Just Intonation,(Long)

[Mmeade1pno@AOL.COM]

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Please, say what you really think! Professional "tuners" must live in the 
realm of unadjustable (in performance) pitch, therefore endlessly finding the 
correct or best set (or theory) of compromises to achieve a desired 
temperament which most closely approximates the standards of "intonation" 
from a given historic period. Performers on adjustable pitch instruments must 
make these adjustments on the fly in performance, and develop the ear and 
technique to constantly improve intonation.
Performers in established, professional ensembles (quartets, orchestras,etc.) 
develop a unified philosophy on pitch or else they are asked to leave. 
Therefore, a pattern can develop which is actually recognizable. An ensemble 
which does not develop a consistent philosophy on pitch takes more energy to 
listen to, and will eventually become considered to be less polished than 
competitors. The conductor of a large ensemble usually imparts his/her 
philosophy on the adjustment of pitch. In a quartet, it is usually by 
committee (Makes for good arguments!). 
What possible differences can there be on "philosophy"? A group may believe 
in different approaches on the width of "just" thirds. Many violinists 
especially play wide thirds, and believe that "tempered", or "piano" thirds 
are very narrow compared to proper thirds. Other ideas hold that all 
intonation should be broken down note by note slowly, then players need to 
try to duplicate their findings in tempo. This is usually held by wind 
players. Other (believe it or not) carry their Auto-tuners with them at all 
times, even PERFORMANCES, and insist that all others need to adjust to them 
without regard to "Just intonation", purity, only that all notes register on 
the needle. This, if at all practical, would result in an entire orchestra 
playing only in ET! I do not exagerate, a member of the oboe section of the 
NY PHILHARMONIC does this! Ocassionally, informed members of a section (most 
often the French Horns) will actually try to adjust pitsh towards just when 
given an opportunity to be on their own. A sensitive musician will recognize 
this immediately and marvel at the sections' co-operative spirit. This can 
happen in quartets. as well I recently heard a performance by the Tokyo 
Quartet. They started out with Schubert a minor. The width of the minor 
thirds shocked me they were so pure(wide). Most classical musicians believe 
that minor thirds must be very narrow to emphasize their dark side, taking 
them to be even more narrow than ET. Interestingly, when the quartet moved on 
to Brahms, wide Major thirds and narrower minor thirds, like ET, gave the 
music greater intensity!  This was definately quite intentional.
One can not make generalizations about musicians in orchestras and their 
approach to intonation anymore than performers can make generalizations about 
professional tuners from their limited experience or point of view. 
Intonation is frequently the last subject musicians wish to discuss, because 
it can break friendships faster than any other subject amongst musicians. 
Only in situations where a consensus is reached that egos will not be bruised 
or threatened by its' discussion can true progress be made towards an 
ensemble playing beautifully in tune. Even then, it must be understood that 
there is no such thing as perfect intonation, that we must always be 
listening to improve the intonation, and that one must never assume that he 
or she is the only "in tune" player(That every one else is wrong). 
Music performance is a flexible, dynamic experience, and the many factors 
that contribute to good intonation are difficult and require hard work on 
every performer's part. It is this element, more than any other, that 
seperates the static result of a keyboard tuning from the live experience of 
performance by flexible pitch instruments.

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