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RE: Tuning/Intonation (was keep things right between Sop and Rep)

Hey Ted,
You are correct. I was not writing to be exhaustive and
I do not always delineate between serious commentary and
outrageous statement. I do this to have a bit of fun and too see
if I can generate some thought (a wink is good as nod to a blind bat)
This is more fun on the Brass Band list as brass banders have a sense of
humour
that is missing on the trumpet list but then we let people play 2nd baritone
and tenor horn. I will comment on your points
which are well taken. I am frequently surprised when taken seriously.
Permit me to answer back.


>
> Firstly - using a tuner and setting the level of the 'tuning
> note' is merely
> the baseline. I would compare it to the annual vehicle check
> required in the
> UK for vehicles that are over three years old. This test is only
> good at the
> time of the test. Something may fail during the next month and it is not
> valid to state it was checked a month ago. Too many accept that
> once tuned it
> will remain that way and will not carry out their own checks. Fortunately
> these failures are not usually life threatening whereas in a
> vehicle it may
> be.

This is correct. It is only a check but it should be carried out at EVERY
rehearsal.
When we did this intonation generally improved because the players at least
for
one minute used their ears. After the tuner then the pink things on your
head take over.
You will NEVER play in tune as a band if you do not tune up.
EVERY orchestra I have heard or played with tunes up from the
concertmaster and oboe( or keyboard when applicable).
Yes, for good players not much changes BUT they do it because it is a
discipline
AND a baseline.
If a tuner is too intimidating take a Bb from the principal cornet.
If the BBb intonation is suspect  take the Bb from the Basses
The beautiful sensitive thing about the tuner is that
it has no ego or skill involved. It just indicates sharp or flat.
You do not have to rely on the ability of anyone either player
or conductor to have "perfect pitch".

I have heard all the "anti" tuner and tune up arguments.
I have also heard a lot of out of tune playing.






> Secondly - intonation was once described to me as being like
> someone who has
> a problem with body odour. The person may not realise that they have a
> problem but quite often their best friend doesn't know how to
> tell them. If
> they are informed of the problem in an inappropriate way the
> result may be
> devastating and very demoralising. The same can be true of a person with
> intonation problems. Positive and constructive help is what is
> needed. Many
> times the snide remarks and insulting gestures have only succeeded in
> encouraging the player to leave the band. Noting that recruiting and
> retaining a full band is not easy surely there is a need to
> encourage players
> to stay and help them improve.


I believe I was quite clear that that is dangerous ground.
The least constructive thing is to ignore the problem.
This frustrates your better players and encourages them to leave the band.
By paying attention to the "lesser" players you are saying
that they are important to the band and that you feel they CAN improve.
By not paying attention to them you imply they are "hopeless".
That's really insulting.
On the whole our band has "paid attention" to the "lesser"
players and the results were significant. The band level
of performance went up noticeably. Those that left ( only one or two) just
did not
WANT to bother with improving OR had no patience with the "lesser" members.
Their loss.


OOPS
Too much time on the computer. Most problems between players come down to
not enough beer. The players that drink together think together.


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


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