HI Darcy,
I haven't been following all of this discussion (sorry), but there is
a not so superficial issue with scordatura for anything but short
passages. Players depend on deeply ingrained kinesthetic patterns for
controlling their instruments (obviously), and some are more adept at
the cerebral re-patterning that goes with different tunings than
others. I can play the cello a little, and the bass tuned in 5ths
(too much real estate to cover for my taste, but some people find it
advantageous), but comfortable access to the hand movements and
fingerings I need in the heat of jazz improvisation I can only get in
my "home" tuning of 4ths. I know this is a limitation of my brain
function, but I don't believe I am alone in being disturbed and a
little distanced from my musical responses when I have to cope with
unfamiliar tunings. I'm sure this can be overcome with practice,
(people double on clarinet and saxophone, and some know the old system
of clarinet fingering and can switch back and forth from it with
relative ease) but not everyone wants to do it.
Just my 2 cents.
Chuck
On Feb 23, 2008, at 12:24 PM, Darcy James Argue wrote:
Also:
If anything, the issues you bring up ought to be of even more
concern for a soloist, since they can't substitute an inferior
instrument and must detune their main instrument. Any lasting tuning
problems this might cause would be even more exposed and serious for
a soloist, so if they were a legitimate concern, you would expect
soloists to be more reluctant than section players to play a piece
that called for alternate tuning.
I am inclined to believe that there is an awful lot of hoo-hah and
superstition around this issue, and that the resistance of
orchestral string players to use alternate tunings (even for an
orchestral warhorse like _The Firebird_, fercrissakes) comes from
the same place as the general resistance of orchestral musicians to
do ANYTHING that falls outside of their usual comfort zone.
Cheers,
- Darcy
-----
[EMAIL PROTECTED]
Brooklyn, NY
On 23 Feb 2008, at 12:07 PM, Ray Horton wrote:
Solos are different.
Is this done with the fine tuners or the pegs, do you know? Do the
strings stay detuned for the remainder of the piece? Just curious.
Thanks,
RBH
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