William, you said some very important things. May I ask the community once again, why they do not react to my recommendation of colours, sound colours, which are so important in music, not the mathematical calculations. With all the mathematical calculations up to fractions of cents, things sound so monotonous boring, no flesh no bones, really dead. Quite interesting.
The most missing seems to me the musical basic training, so to learn hearing pitches in advance, but the right pitches. And Steve, how about a "monor third" ? You hit the wrong key & meant "minor", right. ============================================================ =============================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 21, 2007 4:58 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Re: pitch, temperament and intonation I thought I might get lambasted for saying it but I will anyways: Tune to where it sounds good. You should have a decent ear as a musician so you should be able to tell, and how to get a decent ear is by closely listening to good recordings. I aced all of my aural skills classes and the only studying I did was listening to good music. Others had difficulty in the class because they never took the time to listen to music instead of just hearing it or not taking the time to hear anything at all. If you wanted to you could write math equations and do calculations until the cows come home to figure out if something is in tune or not, but when you're in a real world situation you won't have time to do that and to me listening to play in tune is going to correct things a lot quicker and make things sound so much better and cohesive then pulling out a piece of scratch paper and computing the pitch tendency in cents. Plus I like to devote some of the few brain cells I have to making whatever it is I'm playing musical. Whether its Schoenberg or Schubert, there is music somewhere and it's a musician's duty to play it. Of course it's always good to study why things are sharp and flat or why partials are going to be out of tune or how to tune chords but training yourself to think and resolve an intonation discrepancy on the spot before anyone notices it or before it has a chance to get out of tune is all the difference in the world. I guess in a roundabout way I'm saying that training yourself to become automatic is a very good thing indeed. That's just my opinion though. I could be wrong. If I am, so be it, but I just wanted to put my two pfennings in. -William ************************************** 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/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
