Hi Ed, I was giving a specific example for D major--sorry I thought it was implied by my choice of notes. When playing Quartets Unisons Octaves 4ths and 5ths are all looked at before +3rds. Usually the thirds get left "where ever" the rest of the notes sound best. This is automatic almost if you are a "team". The truth is that intonation is each players responsiblity. In an Orchestra occaisionally the conductor will "balance" a chord. The players are expected to remember that particular conductor's "preference". Music does zip along quite quickly most times. Of course, then there is, for most instruments vibrato, which really clouds this entire issue. At 09:37 AM 4/25/02 EDT, you wrote: >Don writes: > >>string players do not aim for "just" thirds when they double stop. For >>example g4 b4. We would tune the G to the g3 and the b4 to e5. That leaves >>some kind of third. > >Ah, so the pitch of B is the same, no matter what key the string player is >playing in? > >>What Susan is speaking of is melodic intonation. It >>mirrors what one does with one's voice if you sing a diatonic scale. I.E. >>7th, 6th, and 3rd sharp. > >Hmm, the melodic quality of expression seems to require that singers inflect >their pitches depending on what the music is doing, how is that possible if >there is only one pitch for any given note? (I have sat in the audience >with my SAT and I KNOW that a nice sounding vocal performance is NOT ET!!!) > >Regards, >Ed Foote > > > > > Regards, Don Rose, B.Mus., A.M.U.S., A.MUS., R.M.T., R.P.T. mailto:pianotuna@accesscomm.ca http://us.geocities.com/drpt1948/ 3004 Grant Rd. REGINA, SK S4S 5G7 306-352-3620 or 1-888-29t-uner
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