I sit next to the principal bassoon for 26 years.
I know every note on his instrument, he know's every
not on my instrument that's how you get good intonation.
Obviously we can't do that in an academic
situation, you can't do that in a community orchestra.
But you can raise people's consciousness and awareness of, intonation issues.
>> And, and to connect with some of our other videos in
terms of kind of the spectrum between professional and less experienced players.
With the professional player, they have control over their instructions.
>> Exactly.
>> You can just tell them the problem.
>> Yep, they'll solve it.
>> They'll figure out how to fix it.
For, intermediate players, you might have to break it down.
Mm-hm.
>> To give them the.
To illu-,
illuminate the skills that they need.
>> Exactly.
>> And the problems that they were there.
>> Yep.
>> And at the beginning level, you might really have to micro manage it.
>> Right.
>> But really, micro managing is inefficient in the long
run, because there is, thousands of notes in the piece.
>> That's right.
>> And people have to take their own responsibility.
>> And you have limited time to rehearse.
And it's also very tedious to be, getting to that
level of detail in a general rehearsal, where everybody is present.
And then a lot of people have to sit
around for ten minutes while you're tuning one chord.
That's why it is best done in sectional rehearsals.
>> Right.
>> And why when we do have sectionals I really would
like our wind and brass faculty to focus on intonation because
that's something they can really nail, with eight or 12 people
present and not waste the time of a large string section.
>> So it's about facilitating the group to take personal responsibility.
>> Yes.
>> For the issue of intonation.
>> It is.