Just Intonation,(Long)

[Tom Servinsky]

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Very well stated. My point I've trying to make for some time.  Pitch and =
interval tuning is in a constant state of flux, believe or not. Between =
different philosophies of intervals, instruments with poor scales, =
humidity and temperature changes, classical players maturity is based on =
their ability to adjust...quickly.
Just Intonation is a commonly miss-understood. Tuners view Just =
Intonation is one way. Musicians (think) they understand it in another. =
You are right on the money when you said that the understanding of pitch =
is one of the last thing musicians are willing to discuss.
Similarities of Just Intonation due exists quite heartedly in the =
classical orchestral venue.
Tom Servinsky,RPT
  ----- Original Message -----=20
  From: Mmeade1pno@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Wednesday, November 07, 2001 10:26 PM
  Subject: Re: Just Intonation,(Long)


  Please, say what you really think! Professional "tuners" must live in =
the realm of unadjustable (in performance) pitch, therefore endlessly =
finding the correct or best set (or theory) of compromises to achieve a =
desired temperament which most closely approximates the standards of =
"intonation" from a given historic period. Performers on adjustable =
pitch instruments must make these adjustments on the fly in performance, =
and develop the ear and technique to constantly improve intonation.=20
  Performers in established, professional ensembles (quartets, =
orchestras,etc.) develop a unified philosophy on pitch or else they are =
asked to leave. Therefore, a pattern can develop which is actually =
recognizable. An ensemble which does not develop a consistent philosophy =
on pitch takes more energy to listen to, and will eventually become =
considered to be less polished than competitors. The conductor of a =
large ensemble usually imparts his/her philosophy on the adjustment of =
pitch. In a quartet, it is usually by committee (Makes for good =
arguments!).=20
  What possible differences can there be on "philosophy"? A group may =
believe in different approaches on the width of "just" thirds. Many =
violinists especially play wide thirds, and believe that "tempered", or =
"piano" thirds are very narrow compared to proper thirds. Other ideas =
hold that all intonation should be broken down note by note slowly, then =
players need to try to duplicate their findings in tempo. This is =
usually held by wind players. Other (believe it or not) carry their =
Auto-tuners with them at all times, even PERFORMANCES, and insist that =
all others need to adjust to them without regard to "Just intonation", =
purity, only that all notes register on the needle. This, if at all =
practical, would result in an entire orchestra playing only in ET! I do =
not exagerate, a member of the oboe section of the NY PHILHARMONIC does =
this! Ocassionally, informed members of a section (most often the French =
Horns) will actually try to adjust pitsh towards just when given an =
opportu! nity to be on their own. A sensitive musician will recognize =
this immediately and marvel at the sections' co-operative spirit. This =
can happen in quartets. as well I recently heard a performance by the =
Tokyo Quartet. They started out with Schubert a minor. The width of the =
minor thirds shocked me they were so pure(wide). Most classical =
musicians believe that minor thirds must be very narrow to emphasize =
their dark side, taking them to be even more narrow than ET. =
Interestingly, when the quartet moved on to Brahms, wide Major thirds =
and narrower minor thirds, like ET, gave the music greater intensity!  =
This was definately quite intentional.=20
  One can not make generalizations about musicians in orchestras and =
their approach to intonation anymore than performers can make =
generalizations about professional tuners from their limited experience =
or point of view.=20
  Intonation is frequently the last subject musicians wish to discuss, =
because it can break friendships faster than any other subject amongst =
musicians. Only in situations where a consensus is reached that egos =
will not be bruised or threatened by its' discussion can true progress =
be made towards an ensemble playing beautifully in tune. Even then, it =
must be understood that there is no such thing as perfect intonation, =
that we must always be listening to improve the intonation, and that one =
must never assume that he or she is the only "in tune" player(That every =
one else is wrong).=20
  Music performance is a flexible, dynamic experience, and the many =
factors that contribute to good intonation are difficult and require =
hard work on every performer's part. It is this element, more than any =
other, that seperates the static result of a keyboard tuning from the =
live experience of performance by flexible pitch instruments.=20

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