On Feb 18, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote:
Anyone got any tips for learning to play better in tune as a
horn section (in an orchestra)?
I think most of the tuning errors are coming from one of the
players, but not all, and I couldn't swear that I'm always
playing 100% in tune - and maybe I'm being drawn off pitch
by the others?!
The point is that we are aware as a section that we're not
best in tune, and we're all individually trying to be in
tune, but it's still not working. We're also a friendly
bunch, and saying "Xxx, you're flat" every five minutes
isn't going to do much for morale. I'd like us to get in
tune AND remain friends with each other. There's no head of
the section, we're of fairly similar ability and we rotate
the parts round from piece to piece.
The conductor helps sometimes, but most of the time he's too
**** polite and won't say "Xxx, you're flat/sharp" either.
Does anyone have any tips for how we can collectively
improve our tuning? Exercises to try as a section? Cunning
uses of gadgets?
Ways to convey pitch errors without getting people's backs
up?
Sharon
Luke and Hans have given great advice. I will add a couple of things.
I'm going try to be brief. : ) There is a lot more to this.
Individual intonation has four main components, any of which will
either make your job easier or harder. They are:
1. The ability to hold a steady pitch and reproduce that exact pitch
over and over without thinking. This has to do with using the air to
center the notes rather than the lip and letting the embouchure relax
into the notes. This is a real problem with younger players. If you
can't do this you can't play consistently in tune, with yourself or
anyone else.
2. Hand Position. A BIG offender. You need an effective hand position
that is STABLE, not going in and out of the bell on every other note.
To be brief, if your hand isn't into the horn far enough, you are
wasting your time.
3. Tuning the horn itself. There are a couple of basic ways to do
this, but they won't help if you can't do 1 and 2 above. When I see
players constantly fiddling with their slides it is a sign that other
things aren't working.
4. Development of your ear and knowledge of basic pitch concepts as
stated by other posters. This is the final frontier but it needs to
be developed right from the start. Do pitch matching with each other
and a tuner.
Just a little story: I was coaching a youth orchestra wind sectional,
in which some of the horn players were my students (yikes!), and they
were driving me and everyone else nuts with some simple passages that
were out of tune. After trying to pinpoint the problem individually,
I finally just said "tune to Adam", the first horn and a very strong
player, and suddenly everything cleared up.
As a principal player for many years, I was in tune by definition.
That is why I got the big bucks. : ) This is a responsibility and you
WILL be held responsible. It doesn't mean to lord it over the other
players. It means to lay down some good, consistent pitch.
Having a tuner handy can keep arguments to a minimum but in the
greater context of tonality, it isn't the final answer. People are
very sensitive about their intonation so don't be confrontational.
Work small things out on breaks or before or after rehearsal. Get
each player on first to lead these short sessions. get everyone
involved. Pick your personal battles carefully. Take small steps and
things will improve over time.
I also echo the sentiments about getting together and playing trios
and quartets. Work together. Know your horn and your tendencies. Have
some fun. It always sounds better in tune. : )
Sincerely,
Wendell Rider
For information about my book, "Real World Horn Playing" and the
summer seminar, go to my website: www.wendellworld.com
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