In a message dated 5/19/07 3:04:47 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes:
This brings up some good points. As far as the number of different F#s there might be, I'm sure you are on track with that- would you like there to be more? : ) The type of exercise you describe is one that everyone should experience at some point or other. Even though we play with pianos quite often, I think it is still important for us to be very aware of the position of our note in the chord and how we need to adjust it for the key we are in or just the chord of the moment. This is important for melodies as well as harmonies. While playing a piece with piano only, you still have to make the chords and melodies work the best you can. Of course this is for tonal pieces, but most of the best things we do are tonal. No offense to the atonal crowd, but it is easier to get away with bad pitch in an atonal situation. OK, this a gross generalization, but in the sense of players coming up now playing more atonal music with tempered pitch, the sensitivity to tonal intonation has suffered. At my seminars I have the players hold different notes while others move to change the chord, much as you describe. They are usually quite surprised by the results. And there is nothing like a horn choir doing something nice and in tune. The "Bottom Line" or "Real World" aspect to this is that we cannot assume that the note we may be holding for ten bars is going to be in tune for that whole time just because we started in tune or because it says we are in tune on our tuners. We need to learn to hear what is "in tune" and adjust appropriately. Exactly how many cents or whatever is not that critical- the interval or chord needs to sound right. Tempered pitch is fine for pianos and an orchestra can get away with it to a certain extent just because of the number of people playing (sad but true), but for really good intonation, we must study and practice the art of staying "in the chord." Each instrument has its own issues, too. Ever try to play with a clarinet player who can't control their pitch in certain registers? We have many notes to adjust ourselves, depending on the situation. Well, there is a ton more to this, but maybe we can keep this going. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing", the Summer I can see the just intonation for chords but doesn't it get a little trickier on melodies. Aren't we accustomed to hearing the horizontal melody in tempered and the melody itself may sound more natural tempered. I could be way off base on this. Maybe it depends on the vertical vs. horizontal makeup on the individual notes in the melody as to how each note should be played. What happens intonation wise in chromatic modulation - just get the chord right? In the tonality, aren't the main concerns the thirds and sixths and minor seventh in V7 going to I? Ron ************************************** See what's free at http://www.aol.com. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
