I'm going to post this here first because this is a relatively friendly forum and I don't want to ruffle any feathers.
People obsess about tuning, but it all boils down to one thing - Get the ensemble in tune with itself. Nothing else matters. there are several points to consider:
1. Yes, get as close to A=440 as possible. That is the pitch to which most (but not all) instruments are made, but that is far from the whole story.
2. The pitch of an ensemble "floats" because of temperature, loudness, relative location of each note (I mean REALLY high or REALLY low), and to a certain extent, the ability of the players.
3. Many amateur players suffer from what I call "practice room chops." They sound terrific when playing alone in a 6' X 8' studio, but they shouldn't be allowed onstage in real life. Perhaps that's harsh, but there is a cure.
4. For all wind instruments except flute, the louder you play, the flatter you get. This may be the most important point to consider.
There is probably more I could say, but let's keep it simple:
First of all, in today's music, unless you are playing in a Renaissance folk music group, onstage volume will be loud. I'm not endorsing this situation, I'm just stating facts. It doesn't have to be this way, but it is. Even the symphonic pops gigs I play are screaming loud, by let's say, 1930 standards. Everything has changed - mouthpieces (for brass and woodwinds), horns, even strings and amplification in the symphony orchestra. The player has to be able to play up to the volume level of the ensemble. Even oboe, clarinet, and bassoon players have to adapt, and the best of them have done so.
In the symphony orchestra, brass has traditionally played with a dark, beautiful tone, and not as loud as jazz players. Gradually, the legit cats have crept up in volume and brightness, setting the volume bar higher and higher for the other orchestra members.
In the popular music arena, all hell has broken loose. Power, range, and edge has gone to extremes. I'm not criticising. I'm simply stating facts. It's exciting, and that's OK. Just don't try to play like you are in concert band.
So what is a horn player to do? See items 3 and 4 above. Tune up a tad sharp and be prepared to blow the turds out of your horn. Yes, there is a chance that you will be above the pitch. Use your ears, and place the note where it should be, while playing at triple FFF. Pitch is YOUR job, not the task of the horn. No, it ain't easy, but that's how the big boys do it. Play loose,. and take the biggest breath in the world, every time, even when you occasionally play softly.
Once you get the hang of putting an immense amount of air through the horn and playing with a loose embouchure (clarinet players have to meet me halfway here) , remember to open your ears and be sure you are in tune. Remember, it's your job to get in tune with the ensemble, not the responsibility of the instrument.
If you only skimmed this post, remember:
1. Take the biggest breath in the world
2. Tune up a tad sharp and play loose to get down to the pitch
3. A=440 is not in tune. The pitch of the ensemble is in tune
OK, folks, have at me. I don't mind taking criticism.
People obsess about tuning, but it all boils down to one thing - Get the ensemble in tune with itself. Nothing else matters. there are several points to consider:
1. Yes, get as close to A=440 as possible. That is the pitch to which most (but not all) instruments are made, but that is far from the whole story.
2. The pitch of an ensemble "floats" because of temperature, loudness, relative location of each note (I mean REALLY high or REALLY low), and to a certain extent, the ability of the players.
3. Many amateur players suffer from what I call "practice room chops." They sound terrific when playing alone in a 6' X 8' studio, but they shouldn't be allowed onstage in real life. Perhaps that's harsh, but there is a cure.
4. For all wind instruments except flute, the louder you play, the flatter you get. This may be the most important point to consider.
There is probably more I could say, but let's keep it simple:
First of all, in today's music, unless you are playing in a Renaissance folk music group, onstage volume will be loud. I'm not endorsing this situation, I'm just stating facts. It doesn't have to be this way, but it is. Even the symphonic pops gigs I play are screaming loud, by let's say, 1930 standards. Everything has changed - mouthpieces (for brass and woodwinds), horns, even strings and amplification in the symphony orchestra. The player has to be able to play up to the volume level of the ensemble. Even oboe, clarinet, and bassoon players have to adapt, and the best of them have done so.
In the symphony orchestra, brass has traditionally played with a dark, beautiful tone, and not as loud as jazz players. Gradually, the legit cats have crept up in volume and brightness, setting the volume bar higher and higher for the other orchestra members.
In the popular music arena, all hell has broken loose. Power, range, and edge has gone to extremes. I'm not criticising. I'm simply stating facts. It's exciting, and that's OK. Just don't try to play like you are in concert band.
So what is a horn player to do? See items 3 and 4 above. Tune up a tad sharp and be prepared to blow the turds out of your horn. Yes, there is a chance that you will be above the pitch. Use your ears, and place the note where it should be, while playing at triple FFF. Pitch is YOUR job, not the task of the horn. No, it ain't easy, but that's how the big boys do it. Play loose,. and take the biggest breath in the world, every time, even when you occasionally play softly.
Once you get the hang of putting an immense amount of air through the horn and playing with a loose embouchure (clarinet players have to meet me halfway here) , remember to open your ears and be sure you are in tune. Remember, it's your job to get in tune with the ensemble, not the responsibility of the instrument.
If you only skimmed this post, remember:
1. Take the biggest breath in the world
2. Tune up a tad sharp and play loose to get down to the pitch
3. A=440 is not in tune. The pitch of the ensemble is in tune
OK, folks, have at me. I don't mind taking criticism.