Concerto No. 1 - Ian Deterling rehearsal

April 15, 2022
São Paulo State Youth Symphonic Band
Mônica Giardini, conductor
Darrin C. Milling, soloist
rehearsal
Ian Deterling - Concerto No. 1 for bass trombone and symphonic band

[@jamescalgary8952]

Esse é o trombonista que toca com afinador ligado na campana e diz que a Orquestra é desafinada? 🤭🤭🤭

[@DarrinCMilling]

going to respond in English for the closet racist here....YES, I use a German made tuner on the bell sometimes because it's good to have a reliable pitch reference as a bass trombonist so my priviledged colleagues on top can sound good....it's a habit of consciousness that serves for solo prep as well...starting to get the picture? ;) try Google translate

[@jamescalgary8952]

​@@DarrinCMillingUsing a tuner in an orchestral performance can be considered anti-musical, as an orchestra functions as a cohesive unit where the reference for tuning should come from the ensemble, not an individual device. The ability to listen to other musicians and adjust according to the collective sound is essential. When a musician chooses to rely solely on a tuner, this may indicate an inability to integrate into the group’s sound, revealing a failure to grasp the importance of active listening in music. This behavior can, in some cases, reflect narcissistic traits, where the individual prioritizes their own references over the collective. In psychology, narcissism is often associated with a lack of empathy and difficulty in recognizing the importance of others. Musicians with these characteristics may exhibit egocentric behavior, overly focusing on their own performance instead of collaborating harmoniously with the group. According to some studies in music psychology, these traits can harm collective dynamics and limit the development of true musical connection.

[@DarrinCMilling]

​@@jamescalgary8952 aawww..did I hurt your feelings? lol...what a response. Are you using a translator now and ChatGPT? 👏 Well, you've given me the motive to explain this topic for the benefit of those who wish to learn so here it goes.... Using a tuner serves as a reference and, of course, does not allow a performer to follow it strictly in ensemble passages unless you have the tonic and / or responsibility to play alone - and these scenarios occur more often than one might expect in a low brass section. There are no perfect woodwind or brass instruments manufactured with perfect intonation nor are there perfect human beings. And, yes, there are other imperfect beings on the planet, including others in my ensemble who use tuners regularly. The quality sound of a collective can only be achieved if everyone plays with a similar artistic timbre and dynamic. If the dynamic and timbre are matching (or close enough) between all players (miracle one), everyone wins, hurray!....but if someone has bad intonation and / or a bad sound, everyone loses. :( Most tuners pick up on the intonation of other instrumentalists in the room when the primary user is not making a sound - thus, monitoring intonation throughout a rehearsal can give a hint as to where the ensemble is headed. The use of a tuner in an ensemble does not inhibit one's ability to listen nor limits the ability of a player to adjust harmonically or dynamically - it is a personal reference and choice of mine to provide reliable intonation as a bass trombonist in a section and to better understand variables / tendencies in different altitudes, climates, temperatures and, yes, time zones or state of health. As for your attempt to play psychologist and / or music instructor, you don't get it, you don't know me and (forgive me for writing this next part but)..... I'm probably not interested in your values of what a good ensemble is; however, I have a page on Facebook perfectly suited for those who enjoy bashing and / or trolling others on the internet, as you have done with my content for years: facebook.com/odiardarrinmilling