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<DIV><FONT size=2>Very well stated. My point I've trying to make for =
some
time. Pitch and interval tuning is in a constant state of flux, =
believe or
not. Between different philosophies of intervals, instruments with poor =
scales,
humidity and temperature changes, classical players maturity is based on =
their
ability to adjust...quickly.</FONT></DIV>
<DIV><FONT size=2>Just Intonation is a commonly miss-understood.
Tuners view Just Intonation is one way. Musicians (think) they =
understand
it in another. You are right on the money when you said that the =
understanding
of pitch is one of the last thing musicians are willing to =
discuss.</FONT></DIV>
<DIV><FONT size=2>Similarities of Just Intonation due exists quite =
heartedly in
the classical orchestral venue.</FONT></DIV>
<DIV><FONT size=2>Tom Servinsky,RPT</FONT></DIV>
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style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A href="mailto:Mmeade1pno@AOL.COM"
title=Mmeade1pno@AOL.COM>Mmeade1pno@AOL.COM</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
href="mailto:pianotech@ptg.org"
title=pianotech@ptg.org>pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, November 07, =
2001 10:26
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Just =
Intonation,(Long)</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>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. <BR>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!). <BR>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 opportu! nity 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. <BR>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. <BR>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).
<BR>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.</FONT>
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