If men/women weren't in the loop, laws of physics could be applied perfectly.
We are, on both the sound generation and sound perception end of things. On the one end we bring a biological system that has a conscious and non-conscious contribution. Oh and not to mention the feedback loop by the performer who makes adjustments to the sound he hears as he produces it. On Apr 22, 2011, at 10:08 AM, Hans Pizka <[email protected]> wrote: > Hello Sandra, > > Then i wonder, Why this 8th partial on the Bb-Horns is flat, very flat on > most Performances of Strauss n.1. ?????? Tuning the Horn using any other > pitch than an Open, is insane. When I Said E2, i meint it on the f-Side, if > i Said C2, i meant it on bb-Side. Clear !!!! > > It is Not a matter for mathematicians, but for practical musicians/Horn > Players with two Generation Experience. Punctum. > > Von meinem iPad gesendet > > Am 22.04.2011 um 09:02 schrieb Sandra Clark <[email protected]>: > >> At the risk of winning another scathing rebuke from Hans, I thought I'd >> weigh in on the tuning issue. >> >> Hans states: " If the horn is tuned using our written "e2" >> (= first space from top) the horn will result quite sharp, relatively, as >> you tuned it >> with a relatively flat natural pitch." >> >> http://en.wikipedia.org/wiki/Harmonic_series_(music) >> >> The link is to information about the harmonic series - that function of >> nature upon which we triumph or fail - and how each point on that harmonic >> series varies from the equal tempered A-440 to which we tune. >> >> Knowing well that the whole equal vs. just intonation topic is often a total >> minefield for wind players, I will none the less say an "e2" (First space >> from top) is an 8th partial - a VERY stable and in-tune partial relative to >> A-440. If one carefully tunes their instrument to 8th partial notes on both >> the Bb (first...) and F sides (2nd) - one has the opportunity to play freely >> down the 'center' of the pitch. >> >> Of course, numerous notes must be played on less 'in-tune' partials (5th >> partials, 6th partials...as well as the ever popular 9th and 10th >> partials...). As the diagram in the center of the linked article indicates, >> ONLY partials 1, 2, 4, 8, and 16 are stable and in tune relative to the >> A-440 to which we tune (or A-442 in San Francisco...or A-448 in Berlin...or >> whatever). >> >> A short word about just intonation: A very smart mathematician I know >> recently said something to this effect: "we play pitches and scales in >> equal temperament...but we play chords in just intonation". I believe >> players can use the flatness and sharpness of certain partials to their >> benefit in placing their pitches in the proper position for the just tuning >> of various chords during performance. >> >> Sandra >> Toledo Ohio >> >> >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.net _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
