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keep things right between Sop and Rep

>talk of new technology on the list maybe some bright spark can offer some
> device to keep things right between Sop and Rep !

Some of the opinions expressed below are serious and some are jokes.
I myself am not sure which are which.;-) Brass band is such a
wonderful sound that even when out of tune can be listenable.
unlike wind bands and orchestras. We should strive for
the best we can do. If you arewilling to accept 2nd best it's
likely that is what you will get.


1 A tuner.
Use the tuner to check the pitch. Tune the band.(What a concept)
Band intonation is frequently ignored. So if the BBb basses are
flat and the horns and cornets are sharp, ouch.
If the rep is playing a lower octave
they have to center their pitch and the sop plays on top of that
that pitch as a reinforcing overtone. If the rep is out of tune you have to
fix that first.
We recently had 2 solo cornets leave our band and the intonation
improved immediately. Funny thing was one of them used to visibly grimace
when tuning was bad and most often he was the problem. Not listening
and adjusting to where the pitch actually was.In his own space.Not
practising.
The solo cornets cannot ignore bad pitching from the back row
and neither can the music director although this is not unusual.

Many times you cannot hear the front bench when you are playing in some
acoustics.
Here if there are adjustments to be made on the fly it is the solo cornets
who should adjust. Typically a soprano cornet tends to be sharp
on the G above the staff (as are many brass instruments)
The problem arises when the Bb cornets have the top C and the Sop has the G.
Many  Bbs tend to be a bit flat on a top C especially when played with Bach
mouthpieces which
are notorious for this flat high C. This flat C makes a sop sound sharp even
if the pitch is correct.
When you cannot hear the solo cornets because of acoustics the adjustment
should be made by the Bbs. If the rep is in tune and the sop can lock into
that pitch
then they can drive the bus so to speak. Problems arise when solo cornets
decide its a
good idea to show everyone that they can play the final cord louder
and with more intensity than the sop. If the band is in tune the sound will
resonate
without forcing it. A Bb cornet will not sound more brilliant than a soprano
by the nature of the instruments. To get the most musical result they
must be both "in tune" in pitch and approach. This will be best handled
by the music director.
Our band drifts sharp (except for one or two who go flat)
when we do not use the tuner to regularly tune the band.
This is like  a plane in a spin. Stop the spin or crash.


2 It isn't as bad as you think.
I have listened to tapes of our band and what seemed to be unbalanced,
overplayed etc
really sounded fine in the hall. tape your band just to see whatswhat but
have a couple of
beers before the first listen.

3 It IS  as bad as you think.
Do YOU practice with a tuner at home. Yamaha makes a real nice one that can
be set
to C Bb Eb and F pitching and adjusted for A. It is humbling at first but
you eventually
will lock in to correct pitching from practice. Intonation is a learned
skill.
I play a lot of trumpet (using instruments in many keys Bb C D Eb E both
piston and rotary etc)and this
means I have to pay attention to pitching from one to the other. If I get to
busy to work on it can suffer.
However when I take care to be prepared it is MORE frustrating when the band
pays no attention at all.

4 Practice on Bb

You should take care to not play soprano exclusively. Practice on Bb for a
good foundation of technique.
Playing exclusively on higher pitched cornet or trumpet is going to cause
problems in the long run.


5 Have the rep player be an attractive member of the opposite sex.

It doesn't help the playing at least allows
you to fantasise about something more interesting than intonation.
This can also work with the Euph and Baritone section as you have a better
view of them.

6 Total intimidation.

The worst option and a last resort
but if the music director doesn't work on the situation at least
they might get the message and practice.
Say things like. " Should I tune with the cornets, horns or basses"
"Next time I'll tune to you instead of the rest of the band"
Say "ouch" or inhale sharply with a whistling sound after a particularly
nasty sounding chord. A silent slight shake of the head is really
devastating with an insecure rep.
Combined with the intake of breath can be particularly effective. Really a
last resort.
Necessary under extremes situations when the MD just goes blithely on
smiling
and the rep is totally oblivious.;-)
Warning!! actual laughing can be really dangerous. Avoid with sensitive
players.
Actually sensitive people probably need a different hobby.
If used judiciously can wake them up. Can start an attitude war.
Of course sopranos frequently have built in attitude so you've got a leg up
on them to start.

7. Actually say something

get out the tuner and ask the rep to tune with you. OR If the rep is not
going to be moved ask the rep to play their G or C and TUNE TO THEM.
Match their pitch whether sharp of flat and at least the two of you
will be on the same page even if the rest of the band are not.
Many MDs will notice an "out of tune" soprano but miss completely the
instrument it is out of tune with even when it is the sop who is "in tune".

8 Who is tuning to who.

The soprano part whether in a band or choir must be in tune to the lower
pitches. Chords and intonation are based on this. In a full band chord
the intonation depends upon the lowest pitch (usually from the BBb basses).
If they are sharp or flat it is academic as every pitch above them will
be heard relative to their foundation. If the entire band is at A=440
and the BBb (just has to be one of them) is at A=338 then the entire
band will sound sharp. Either the BBb has to be corrected or everyone
else needs to adjust down. I frequently play in churches where the
pipe organ is not at A=440 for a variety of reasons. it would be silly
to ignore this and play out of tune. You make the adjustment and play
at 338 440 442 or whatever.

9 Use the pink things sticking out the side of your head.

The conflict in pitch can be related to
the nature of the instrument but in the end result the only way
to play in tune is to use the two little pink things sticking out
the side of your head. You have to listen.
Years ago I was fiddling with my slide and the player next
to me told me number 9. It was among the best advice  I have been given.
In the end when your work with tuners and the pulling of slides is done
 you use your ears. As the highest overtone you MUST take
you tuning from the pitches below yours. I play in a quintet
that has no pitch problems. Even when I play arrangement where
I use the same Eb cornet as band things are fine.
each situation has it's own built in problems. You listen
and adjust if possible or live with it.

10 In case of conflict take the pitch you like the best.
When in doubt tune with the basses as the foundation or the band as a whole.
If the rep is on Mars leave him/her there.

11. Drink Beer
 If you know it's going to be a groaner that night have a couple before
rehearsal and chill out. Or have a few after.


These are my two beer random ranting opinions. If coaxed I'll give you the
four beer opinions. If you would like to dispute anything let's make
it tuners at 10 paces. Your choice of Korg or Yamaha.


Graham Young
(905)5758440
(905)332-6353 fax
gyoung@xxxxxxxx
Celebration Brass - Symphony Hamilton
Weston Silver Band


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