Yes, I wouldn't disagree with any of that except that yes your inner ear
can predict the pitch of accompaniment and filler notes, not just the solo
notes. That's easier and more predictable the better the orchestra is of
course. Yes, the difference in the professional world is that it's easier.
Listening and adapting, oh gosh I never would have thought of that! But the
2nd horn player can hear the rest of the orchestra just as well as the 1st horn
player so there's no reason they both can't just play it right at exactly the
same time, unless the 1st horn player wants to play it out of tune, well then
you'd have to go fish on 2nd I guess.
- Steve Mumford
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Hans wrote:
Sorry, this is just good for so-so playing, but not valid in the professional
field. There you can trust the section leaders, that they are listening &
adapting
according to the actual need, which might vary from leading voice to the
other leading voice. Stubborn remaining in the "I am right position, is
foolish & counterproductive. This is special directed to the "tutti"-voices
in the orchestra no matter what instrument.
The whole thing is important, not the single solo, which is not leading always,
even the solo.
And question: is it not very satisfying to be a part of a wonderful performance
even nobody will remember your contribution, but the wonderful playing of
the ensemble ??
Wait a minute, Steve, please:
You said a lot of very good things, but you did not mention, that the
particular pitch
has to be heard before in your inner ear, well, but that works for entrances
after
a rest only, not in the scale, not in the accompaniment, not in the "filler
notes",
which work only, if you listen around you, as I said before, listen & recognize
the leading or important voice ("Leitton" e.g.), to make it sound just a bit
stronger to shift the chord in the desired & correct direction. All that
requires
a lot of flexibility.
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Am 09.05.2011 um 20:36 schrieb Steven Mumford:
>
>
>
My theory is that good intonation happens before you play the note.
You know the piece, you know what note is coming next, you know how it's
going to fit in the chord and you hear the general pitch happening
around you. You play that next note straight ahead where you hear it
should be and most of the time it's going to be good, if your sense of
harmony is good. You can do a little reacting and fudging if you have
to, but for the most part if you're only reacting, waiting for somebody
else to set the pitch, it's going to be too late to sound good.
>
> - Steve Mumford
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