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RE: Intonation (was Re: YAMAHA TEN (fwd)

To: brass-band@xxxxxxxxxxxxxxxxxx
Subject: RE: Intonation (was Re: YAMAHA TEN (fwd)
Date: Sun, 17 May 1998 08:30:25 GMT
Organisation: Wharfedale Computers Ltd.
Priority: low
Reply-to: brass-band@xxxxxxxxxxxxxxxxxx

The fiddlers get away with it because that's what they want.  The
combined sound (called the 'orchestra effect' at my university) of the
strings is based on their individual vibratos NOT being in sync.  Quite
a different thing with woodwinds and brass.  What makes a non-vib.
unison in perfectly tuned brass so awesome to me - and what makes that
sound so very different than one player amplified - is the individual
wavefronts of each player are each out of phase by different and random
amounts.

For example the trumpet fanfare at the beginning of Star Wars as opposed
to the C trumpet opening lick in Zarathustra.
>----------
>From: Tom Warner[SMTP:tom@xxxxxxxxx]
>Sent: Friday, January 23, 1998 1:28 PM
>To: brass-band@xxxxxxxxxxxxxxxxxx
>Subject: Re: Intonation (was Re: YAMAHA TENOR HORNS)
>
>Norm Harris wrote:
>
>> Vibrato should really only be used for soloistic purposes. When playing
>> tutti, no vib. is the rule. WHY? Because if every one uses vib., there
>> goes the tuning. Think about it. Your vib. might be faster than ++ and **
>> might use a greater amplitude in his vib. Multiply this by X players who
>> all have different concepts of vib. and bingo.( NOW watch the fur fly!!)
>
>I agree with you but, what I wonder is how the bleedin' fiddlers get
>away with it! They play as though no one in the orchestra knows _how_ to
>keep their left hand still.
>
>Tom
>
>
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