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why do string players have to tune so high? is there a reason for this or do they just want to drive us brass players crazy?

The standard explanation I've heard is that they like the sound of the tighter strings.

tuba kitchen wrote:why do string players have to tune so high? is there a reason for this or do they just want to drive us brass players crazy?

I assume you mean that they tend to set their intonation sharp (ie above A440). They do it because string players always play flat and they think tuning sharp will compensate. (j/k)

Most orchestras actually play quite sharp, and yes it is not good for peoples' ears. A lot of people love playing sharp because it is easier for the audience to hear you that way. That's how a lot of people think - "listen to me!" It's the same reason why a lot of amateur tuba players think that whomever plays the loudest and lowest is the best player in the room (the same applies to trumpet players, whomever can play the highest is the best).

Whatever happens with the pitch, you'll just need to adjust and act like there's no problem. Bitching about it will just get people pissed off at you. We have to cater to the strings all the time, so get used to it.

ok, i stopped bitching and paid 50euros to get my main tuning slide cut down 1cm., but, we just had an all-brass xmas concert and the brass players were still at 440!

They seem to think that when they tune sharp things project better and carry more "edge"; of course, that's only in comparison to A440 if you're used to hearing things that way. In the 19th century thing got so sharp that there literally was about a half step between 'high pitch' and 'low pitch', only it was the brass bands that were driving it. I know my own main horn was built to 'European Pitch', which is on the sharp side of American.

See: Notes on Early 20th Century Pitch Standards

SplatterTone wrote:The standard explanation I've heard is that they like the sound of the tighter strings.

I've heard this one many times

...because it is better to play sharp than out of tune.

Ed Jones wrote:...because it is better to play sharp than out of tune.

It's a "pitch", isn't it?

When you tune to an oboe, you get what you get.

I read somewhere that an ensemble may actually prefer to tune up with the "foreground" instruments (like violin) a little sharper than the background (like tuba.)

*Ahem* For a string player, it's ALWAYS better to play sharp than out of tune.






Think about THAT one real hard.

*Ahem* For a conductor, it's ALWAYS better to conduct an orchestra that's sharp than out of tune.

smurphius wrote:*Ahem* For a string player, it's ALWAYS better to play sharp than out of tune.






Think about THAT one real hard.

"My brain hurts!"

http://www.mwscomp.com/mpfc/gumbrain.html

windshieldbug wrote:*Ahem* For a conductor, it's ALWAYS better to conduct an orchestra that's sharp than out of tune.

True, better to have everyone a quarter tone sharp, instead of having half the group a quartet tone flat and the other half a quarter tone sharp (I witnessed two violin players do this in a pit orchestra I was a part of - this is actually a really interesting effect - sounds like they are playing in semitones all the time... I seriously considered shooting one of them).

quinterbourne wrote:I seriously considered shooting one of them).

no, that's for piccoli

My tuning procedure is ridiculously simple, too:
- already know you´re flat
- make sure the main slide is all the way in
- honk a nice BBb when you´re told
- lip it up a bit so the tuning person is satisfied
- don´t worry about it throughout the concert

This procedure was altered in the all-county-wind-orchestra:
- make sure the tuba section is in tune with itself and overpowers everybody else.

This orchestral tuning stuff is all about myths:

"Because it sounds more brilliant." In response to a query as to why the Boston Symphony Orchestra tunes to A=443 (or more).

I have heard of some brass groups that play with their tuning slides pushed in as much as possible. Again, "because it sounds more brilliant."

I say, if it sounds better higher, then why not transpose all of the music up. If it sounds "better" 10-20 cents up, why not 100 or 200 cents up? What about an octave higher? Alvin & the Chipmunks?

If this trend continues, we tubists will be playing piccolo trumpets, and I can just imagine what the rest of the brass musicians will be playing. Only dogs will be able to tell what notes the treble instruments are playing.

So remember fellow tubists, our instruments came permanently tuned at the factory. That's why we have a duty to set the tuning pitch! Down with tuning anarchy!

Allen,
in the mood for April 1

Henry wrote:I personally have never found violinists to be too sharp as a class.......

Well, that's your opinion, but we were talking about intonation.

Rick "who was recently accused of being sharp in spite of all evidence" Denney

Rick Denney wrote:Rick "who was recently accused of being sharp in spite of all evidence" Denney

Always bragging...

Rick Denney wrote:

Henry wrote:I personally have never found violinists to be too sharp as a class.......

Well, that's your opinion, but we were talking about intonation.

Rick "who was recently accused of being sharp in spite of all evidence" Denney

they'll tell you how sharp they are and how good they are though.