Sorry, this is just good for so-so playing, but not valid in the professional
field. There you can trust the section leaders, that they are listening &
adapting
according to the actual need, which might vary from leading voice to the
other leading voice. Stubborn remaining in the "I am right position, is
foolish & counterproductive. This is special directed to the "tutti"-voices
in the orchestra no matter what instrument.
The whole thing is important, not the single solo, which is not leading always,
even the solo.
And question: is it not very satisfying to be a part of a wonderful performance
even nobody will remember your contribution, but the wonderful playing of
the ensemble ??
Wait a minute, Steve, please:
You said a lot of very good things, but you did not mention, that the
particular pitch
has to be heard before in your inner ear, well, but that works for entrances
after
a rest only, not in the scale, not in the accompaniment, not in the "filler
notes",
which work only, if you listen around you, as I said before, listen & recognize
the leading or important voice ("Leitton" e.g.), to make it sound just a bit
stronger to shift the chord in the desired & correct direction. All that
requires
a lot of flexibility.
############################################################
Am 09.05.2011 um 20:36 schrieb Steven Mumford:
>
>
> My theory is that good intonation happens before you play the note. You know
> the piece, you know what note is coming next, you know how it's going to fit
> in the chord and you hear the general pitch happening around you. You play
> that next note straight ahead where you hear it should be and most of the
> time it's going to be good, if your sense of harmony is good. You can do a
> little reacting and fudging if you have to, but for the most part if you're
> only reacting, waiting for somebody else to set the pitch, it's going to be
> too late to sound good.
>
> - Steve Mumford
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