Re: [Hornlist] Singing and Playing at the Same Time
This brings back memories of a pysics wave lab setup I built back in college
that was so annoying I can't resist describing it to a younger generation. My
son has an old EMU emulator that he was able to program for a full keyboard
using this concept.
Because I alredy had a reputation for being obnoxious and annoying, the
instructor isolated me in in a cinder block storage room containing all kinds
of neat stuff, including signal generators and transducers (horn speakers). It
didn't take me long to discover the interesting properties of two audio
oscillators operating at high power above the human audible range, but beating
at a quite audible frequency. Meanwhile, I set up some of Cabbage's standard
rope tricks to show to my unsupecting victims, then watched them go slowly nuts.
Come to think of it, Tippet would probably love to write a concerto for it.
In a message dated 1/26/2005 1:54:14 PM Eastern Standard Time, David Goldberg
<[EMAIL PROTECTED]> writes:
>The notes are there, the sum and the difference of the frequencies, but as
>Hans says, probably too weak to hear well, with all that singing and
>playing going on.
>
>You will hear these other two notes even if the primary tones are out of
>tune, but the secondary tones will be *very* out of tune. I have an
>ancient vinyl recording of classical unaccompanied flute duets which are
>sometimes very annoying because of the loud droning of the difference
>frequency. It sounds like someone turned on an electric fan in the room.
>
>It's lots of fun to begin singing on the note you are playing, then
>slowly raise the sung pitch - you will hear the individual beats until
>the difference is enough to call it a note. Sounds like an airplane
>taking off.
>
>
> { David Goldberg: [EMAIL PROTECTED] }
> { Math Dept, Washtenaw Community College }
> { Ann Arbor Michigan }
>
>
>___
>post: horn@music.memphis.edu
>unsubscribe or set options at
>http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com
>
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Re: [Hornlist] Singing and Playing at the Same Time
The notes are there, the sum and the difference of the frequencies, but as
Hans says, probably too weak to hear well, with all that singing and
playing going on.
You will hear these other two notes even if the primary tones are out of
tune, but the secondary tones will be *very* out of tune. I have an
ancient vinyl recording of classical unaccompanied flute duets which are
sometimes very annoying because of the loud droning of the difference
frequency. It sounds like someone turned on an electric fan in the room.
It's lots of fun to begin singing on the note you are playing, then
slowly raise the sung pitch - you will hear the individual beats until
the difference is enough to call it a note. Sounds like an airplane
taking off.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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post: horn@music.memphis.edu
unsubscribe or set options at
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RE: [Hornlist] Singing and Playing at the Same Time
Steve, thee is an extensive article about these "summation tones" resulting from the addition of the overtones, the article is from Musical Ti8mes Sept.1st, 1925. These chords work best only for horns in F, E or E-flat or even lower (C-basso, Bb-basso, D). If you cannot hear the third pitch, may-be it is too weak, as you probably sing it in perfect pitch. If you shift your voice produced tone a bit up or down, you will listen some ugly high pitch. Play (concert) f & hold it, sing (concert) c & d in a slow movement in succession, you will immideately listen the third pitch. Finally play (concert) c (below stuff) (= the F-horn g below staff) & sing a Seventh higher tone, you will hear a chord of 4 pitches then. But Steve, this is "snow from after tomorrow". It is good that you know that this is possible, but it might be much better to improve the important things of horn playing, the roots, the basic, first for a few years. And, sorry to say that, you will NEVER need these funny "horn chords" (as they are named) as they occur just in the really difficult Concertino op.45 by C.M.von Weber & the Concerto for Horn & Violin by Ethyel Smyth & a few modern works for hand horn or what ever horn, all (sorry again) to be far beyond what you might expect to play. This is (super) professional stuff. Nevertheless, it might be much fun for you, to experiment these things. Franz wrote a very good horn method, some classical book for the horn == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Wednesday, January 26, 2005 6:20 PM To: 'The Horn List' Subject: [Hornlist] Singing and Playing at the Same Time I just picked up the Franz horn method and, somewhere towards the middle, he mentions singing and playing at the same time, suggesting that if one plays written middle C while singing a fifth above on G, the E in between will be heard as well. I tried it and I hear only the two notes I'm producing, no third pitch in the middle. Is there some secret to doing this I'm missing? (By the way, it was fascinating to do this and listen to the beats between notes - a great way for someone like me with perfect pitch to first do "what comes naturally," which is to sing even-tempered pitches, secondly to become aware of the beats between the pitches, and finally to adjust the singing pitch to make the beats disappear. Very cool stuff.) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
