OFF (*was: neurology)

[Susan Kline]

At 08:35 AM 4/25/2002 -0600, you wrote:
>Isn't this "apples & oranges..."  A trombone player once said that it is a
>disservice to teach that the trombone has 7 positions. (Which is what is
>commonly taught in nearly every technique book) He said it is more like 127
>positions. Why? Because in brass, as well as strings, woodwinds and even 
>choirs
>we don't play or sing "melodically" only. For instance, if we are playing solo
>type passages we generally play the leading tone (say B natural in the key 
>of C
>major) much sharper than the same note played as the third of a major triad.
>Etc. etc. The fact is, instruments that can adjust pitch do so constantly (or
>should) while adjusting to other instruments in the ensemble. Ed, I agree.
>Susan, you lost me a little on this one. Comparing closed and open tuning
>systems seems to be apples and oranges. My slant on this is from years as an
>ensemble teacher and performer. Help me out Susan.
>Jim Busby (RPT)

You don't need help, Jim. You have it just right. Melodic intonation is a 
floating
system which adjusts as needed for the conditions it encounters. This is why
a "nearly equal" or "mild Well" temperament doesn't bother me nearly as much
as something like mean-tone. It is within the "float range." I believe I can
say that no string player will play a beatless third by anything but 
ineptness.
Nor could they tell it was beatless, most of the time. They would do much 
better
on a beatless fourth or fifth -- in fact, they'll kluge around to make them
straight instead of narrow or wide.

I've got to run, so I can't write more about this till tomorrow, but Don Rose
has it right, as well. I will say, Ed, that intonation in string groups does
change when they play with a piano -- usually for the better. They have a
much steadier basis for their intonation. This assume that they aren't the
cream of the cream, who play really beautifully in tune by themselves. The
average group does do better with a little steady support from a keyboard,
and they float within that framework, as the music warrants.

Susan Kline