Jay, if you say exactly the same, as I did before, I cannot understand, why some people disagree with my proposal.
But playing through all the scales as you suggested, when will you do that? Before the rehearsal or before the concert ? Then the embouchure will be worn before the concert. Where will you do it ? At home ? Then, on the way to the hall, the circumstances are different (temperature, humidity, etc.), so you have to adjust again. Or in the hall, with all the chaotic noise. Things are different in theory & in practica. But remember one thing. Even if you play the first part, you have to bow in & adjust your playing to the section, e.g. playing something on the Bb-side, if the others play it that way, even you are convinced, the F-side would sound much better here. It is all done to make the horn passages better. It is a permanent compromise. Playing along with the clarinet or trumpet are two different pair of shoes. d# is not equal e-flat, as d# tends up & e-fl. tends downwards, so d# sounds better on F & e-fl. better on Bb-side. And all this depends on the context. But to differenciate that far would be too much to digest for most players. You could talk about this with first players, but rarely with tutti players as they have more other problems. Repeated: setting the general trend of intonation according to the oboe�s "a", but using the concert "f" as interval note to tune. When the main slide is set at the right position (first the slide for Bb, then the slide for F-side or F-elongation), then set the slides of the other valves as described earlier. But do not forget the ear. But some people have even problems reading the music or with note names ........ =================================================== "Jay Kosta" <[EMAIL PROTECTED]> schrieb: > > This is basically what I do to set and test my tuning - > > 1) adjust the main slides for the F and Bb sides for the 'c' in the treble > clef staff (c2, third space) - use an electronic tuner for this, then put > the tuner aside. > > 2) pull the valves slides out as Hans Pizka has suggested. > > - > > 3) NOW, play several different scales - C, G, F, Bb, Ab, etc. And also play > thru a circle of 4ths, and 5ths. As you do this you will probably notice > several notes that aren't quite 'right' - listen by ear for this, not by a > tuner. > > By making minor slide and embouchure adjustments you will hopefully find a > setting to have all the scales and 'circles' sound ok. > > The goal of the slide adjustments is to find slide locations that provide > in-tune scales and 'circles' with a minimum amount of embouchure and > right-hand manipulation. > > When you are playing with others, you will still find it necessary to blend > your intonation to match the group to produce the best ensemble sound. > > Jay Kosta > Endwell NY USA > _______________________________________________ > post: [EMAIL PROTECTED] > set your options at > http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de > -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
