Hello guys,
   Just an observation: the suggested average of the Breacking Index of a
   modern gut string is 260 Hz/m.  However, the full range of modern lute
   strings ranging between 240- 300 Hz.mt.
   This is true for the range of lute 1st string gauges.  I mean 38 till
   46 mm (more or less), were strings are made with a very low twist  and
   gut is made harder by chemicals. The Breacking Index drop in the case
   that  we are speacking of  thicker 1st strings, were they are made with
   more twist than the lute chantarelles.
   Example: on the 1st bass gamba strings the Breacking Index drop of a
   semitone-tone than the lute 1st strings.
   In fact this is function of some technological things: the twist
   quantity and the use (or not) of some substances ables to do gut harder
   etc etc.
   If we go in the range of the violone 1st strings the breacking Index
   drop again and again because such strings are made very very high twist
   and without any chemical tretment able to do gut stiffer. This is why,
   in my wiew, the  calculated Working Indexes (the product of the string
   scale X the supposed frequencies of the 1st strings) of the bowed
   instruments in the Praetorous tables drop step- by -step when the
   instrument became longer. So on Violins we are  in the  average of 210
   HZ/mt while, on violones, we drop to arround 180 Hz/m only.
   Ciao
   Mimmo
   alexander ha scritto:

No one seems to object, and the talk continues as if the very people that gave u
s all the amazing instruments we play, were totally ignorant as far as the oh, s
o stupid "tune almost to the breaking point" line goes. The simple truth of the
matter is that any string made of the same material will break at the same pitch
, no matter its' diameter, as long as the string length is the same. Some here s
till remember Eph Segerman?..
"The stress on the string (represented by S) is the tension divided by
the cross-sectional area, so S=T/A. The tensile strength of a material
is defined as the stress at breaking (which we can represent by SB).
Then the breaking frequency, represented by fB becomes: fB =
(1/2L)sqrt(SB/r). This demonstrates that the breaking pitch is
inversely proportional to the string stop."
In the formula, (as can not be seen here, unfortunately) the invert relation is
only between the pitch, length and the breaking point stress. Diameter plays no
role. All this means a very simple truth - all the instruments of the same mensu
ra tuned close to the breaking point of a given material, will have the same pit
ch, to the same degree as an organ pipe of the same length and diameter will pro
duce the same pitch, be it in France or England. I hazard to say that, among pro
fessionals who used "no rotten strings" and preferred particular strings made by
 the same makers and even at particular time of the year, the pitch standard was
 no worse then nowadays.
alexander

On Tue, 17 Feb 2009 18:29:32 -0800
howard posner [1]<howardpos...@ca.rr.com> wrote:


On Feb 17, 2009, at 5:43 PM, [2]chriswi...@yahoo.com wrote:


How many of us really follow this "fundamental of lute stringing"
today?  We tune our instruments to arbitrarily agreed upon pitches
like 415, 392, 440 etc because its practical.  If we were to do the
truly historical thing, Jeff's G lute would be at 449, Joe's at
412, Tina's at 463 and Bill's at 398.

That wouldn't have worked in 1610 either.  They all had to use an
agreed pitch if they were going to play together, unless they were
into the whole John Cage thing.


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