It does not matter at all, as you have to listen & adapt. The metal contraction due to cold temperatures is measurable (theoretically) but not that significant enough to influence intonation, while the cold air influences the intonation to flat (the metal makes the air double cold & keeps it cold). Our lips suffer to cold weather also, such flattening the pitch. But all that matters in outdoor concerts not in the hall, as there are rules about the working environment.
As I said before, music is listening in the main part & playing in the second part. Wes, strings go sharper with the progress of the performance & should be tuned again during the intermission, while fine tuning can happen during the time space between pieces. Good orchestras do that, less good orchestras do it sometimes, average orchestras do it, if you are lucky, the amateur orchestras or the weekend orchestras refuse that as they see that way as unprofessional.. Listen to my example: (it is the same way with conductors, sometimes) Herbert von Karajan conducted four empty measures before third movement of Anton Bruckners no.7 A-major Symphony. Why ? Third movement has that tricky trumpet sequences with one 3/4 bar, another followed by dotted 1/4 note one eighth and a fourth again, which shakes in most performances. But by conducting these four empty bars in advance & miming the rhythm with his lips, the whole orchestra could lock in perfectly. And this orchestra was none less than the Vienna Philharmonics. I do not know that from hear-say, but I played first horn there in this particular last concert conducted by great Herbert, whom we venerated like our own grand-father. Keep such in mind, abandon amateurish stubborn & believe those who risked or risk their neck every evening in the concerts with the great baton-masters. ##################################################################### Am 23.04.2011 um 18:09 schrieb [email protected]: > I think in colder weather the strings on the instruments that burn easier > contract and actually go sharp, compounding the problem that the brasses go > flat. Is this really the case? > > > In a message dated 4/23/2011 9:01:22 A.M. Central Daylight Time, > [email protected] writes: > > Bravo Steve, the only thoughtful answer: Listening to the others & adjust. > Bravo again ! > > If strings go up during concert, follow up; if > the "a" is lower the other day (at the beginning), tune according to that > "a"; we are not the principal voice in the orchestra > (symphonic or wind) and we are with the supportive crowd even doing some > solo sometimes if lucky or unlucky. So we have to support, even we might > think we would be right with our tuning. The ensemble counts not the single > player. It is a team work nothing else, but very enjoyable. Anything > egotistic is wrong. > > Temperature in the hall might be a single issue influencing different > instruments differently. But we have to come to a common point. > Nobody in the audience would ever care, if our instrument with a said > alloy is more sensitive to temperatures than other instruments. > They expect to listen to fine music, played in tune by all members of the > ensemble. If some members will not subordinate themselves to the leader, > they are wrong - or should be sent to the medic or to strong ear training. > > And, my dear friends, who has the time during performance, to think about > mathematical calculations about pitch etc. > From this lengthy discussion, I have learned, that there is a large > deficit on ear training, as so many relay themselves on math calculations > instead > on their ears. It is an age question also, as ears & hearing sense gets > some deficits after the years. And > conductors tend to hear things, which they read or not, but often not real > things. So trust the given "a" sharp, correct or flat & adjust your > tuning. > ############################################################################ > ##################### > Am 23.04.2011 um 00:33 schrieb Steven Mumford: > >> >> >> Maybe I'm just being dense here, but it seems to me that pretty much > all oboe players have a box on the stand so you can kind of assume the > initial A is going to be about the same every day (I'm choosing to be > optimistic here). So anyway, no need to really stress out too much about > it. If > you tuned yesterday and last week, you're probably in the ball park. As > things progress, you can always adjust a bit if needed. I always thought I > got a better feel for the pitch also too (Sarah) if I played a few different > notes against the A, again just to get a feel for the ballpark. >> If the pitch is impossible to find, just play louder. >> >> - Steve Mumford >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/weshatch%40aol.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
