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<DIV><FONT face=Arial size=2>The Juilliard String Quartet has never really been
all about "intonation." They have tried things in the past like tuning their
open strings to the piano and trying to approximate EQT, but they stopped doing
that a long time ago for what ever reason (my assumption is that they quickly
realized it sounded too stupid). They have a very thick vibrato, which is
nice, but it is also nice to be able to use vibrato to help shape the
texture of the phrase (which they generally don't do). The 5-6 times I have
performed in a master class with the Juilliard String Quartet (usually only
one member stays after their concert ) has not been that inspiring. They are
GREAT musicians with unbelievable experiences, but times have changed, and they
are all just too old now. In my experience, not once did any of them say
anything about intonation (well we did have a cellist that was always
out-of-tune, but that is a different story). We mostly worked on balance
and some on-stage performances issues. Anyway, what is the deal with all
the old/dead performers as examples? Old does not mean better; it doesn't work
that way with instruments, and it doesn't work that way with
performers.</FONT></DIV>
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<DIV><FONT face=Arial size=2>Come on . . . since most people have a hard time
with using terms like "just," I make it easier for everyone by simply saying
in-tune. Do string players play in-tune? Honestly, it rarely happens (i.e.
almost never), but it is something that we try to do. It seems like people are
perceiving the same thing differently, so until we can agree on the terminology,
it is kind of a waste of time.</FONT></DIV>
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<DIV><FONT face=Arial size=2>Bradley M. Snook</FONT></DIV>
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<DIV><FONT face=Arial size=2>P.S. And what would a cellists know about
thirds anyways? :)</FONT></DIV></BODY></HTML>