Posted by Rick Denney on October 05, 2003 at 10:29:40:
In Reply to: Re: Re: Re: Slide Tuning posted by AW on October 02, 2003 at 22:19:45:
Allen, I agree with everything you said. When I make the argument that there are various tuning systems, I know that some would say, "Just pick one!"
On the other hand, I have had lessons, and lessons with top pros who are a little reticent to hear me use their names, I expect. In a band situation, it is not at all easy for me to diagnose intonation issues. I lip up, and it still sounds bad; I lip down, and it is still bad. That's when I realize that the two fellows next to me are likely not even together let alone either one of them being on my planet. Yet when I sit next to a real pro, those tuning problems don't seem to come up. Is it me? I doubt it. They are doing two things that subconsciously help the section play in tune: 1.) They are putting a solid signal out there fore me to match, and 2.) they are making microadjustments to make sure that we really do match.
I sit with a tuner and find that my various tubas have pitches that wander all over the place. When I sit next to these pros, or when I sit in a small enough ensemble so that pitch problems are clear, those notes are fine. Why is that? It is because there is a difference between matching a tuner and matching the sound of a group.
I've come to the conclusion that in my case learning how to match a tuner is not necessarily an effective means of learning how to play in tune in an ensemble. That is why when these issues come up I frequently take the opportunity to remind people that good intonation is a group effort that places a greater burden on the better players.
Yes, some people can't play a given note within a semitone, and no amount of skill from his section mates can make an acceptable sound. But this is rather an extreme example, at least in the groups in which I've played. In our groups, we do okay except for the occasional sour note where the various tendencies of our instruments and playing styles clash. Two people equally assured that their pitch is the correct one in those situations results in a bad sound for the ensemble, and someone must give way. Usually, it is the better player who chooses to do so to maintain a good section sound, even if he then holds a tuning session during the break to try to solve a systematic problem.
I played a recent concert with Bob P. (a well-known pro) who brought his Sear CC rotary tuba. I played my BBb Holton; two more different contrabass tubas would be hard to pair. Yet we played well in tune according to my ears. It's one of the reasons I love playing next to solid pros, though I don't expect the pleasure is always mutual, heh, heh.
Rick "noting that Bob P. will only sit in our group if their are no more than two players" Denney