Hans wrote:
> If the pitch goes that high, it is terribly difficult for the singers. But
> A=452, I cannot believe.
Tuning pitch in England seemed to fly up to quite high values in the latter
1/2 of the 19th century. I don't know why - it seems crazy, but there is
some quite interesting data on t
If the pitch goes that high, it is terribly difficult for the singers. But
A=452, I cannot believe.
The cause for high pitch in the pit are the strings indeed and some crazy
oboists, eventually bringing in trouble themselves. We have to resist all these
tendencies, odd course as we would ruin the
Herb wrote:
I have wondered how players with horns with short tuning slides, such as
8Ds,
manage to follow the different pitch standards and different
temperatures we
play in. On my 8D the tuning slide was almost all the way in when it was
cold
and falling out on a hot day. Geyer/Knopf wrap horns h
Hi folks - its my understanding that air speed is independent of frequency. The
frequency doubles at the octave, a on the top line of the bass clef is 220 hz, while a
second space treble clef is 440 hz. I would think that if different frequencies are
promulgated (how's that for a $2.00 scienti
I have wondered how players with horns with short tuning slides, such as 8Ds,
manage to follow the different pitch standards and different temperatures we
play in. On my 8D the tuning slide was almost all the way in when it was cold
and falling out on a hot day. Geyer/Knopf wrap horns have a longer
Many thanks to all those who answered my question about the high D.
As we have a new conductor I did not feel like introducing myself as:
"Hey, I wan't play that...", but in the first rehearsal I played the
D one octave lower and he did not say anything. So I guess it will be
all right. And I d
I've been told that air speed doubles at the octave. Was this merely a
convention for teaching, like sayin use warm or cold air, or is it physically
correct?
Assuming the above is correct, playing lower would I suppose be slower air
speed, but it would seem to be expelled much faster than playin
Dave Powers wrote:
>
> To Anyone:
>
I switched from trombone (after 40 yrs.) to Horn in August.
>
Some thoughts from one who's been working on the same
problem:
1. On the trombone, each note can be perfectly centered by
putting the slide in the right place. You learn the 50 o
I talked to one of my professors about this recently and he commented that he
doesn't really like to sing with period ensembles(although he does it fairly
often), because the pitches set lower in his voice than he is used to. He
doesn't have perfect pitch, but I bet it feels kind of strange to pra
ATTENTION HOUSTON AREA HORN PLAYERS!!We have immediate openings for 3rd & 4th HornsThe
Lone Star Symphonic Band is an adult organization composed of over 120 musicians from
Houston and surrounding areas. Founded in 1993, the band provides a challenging
musical environment for musicians. We perf
Hoss says,
"If one wants to play low it requires a slow air stream, if one wants to play
high a faster air stream is needed. So yes air speed does affect what note
or frequency we play."
Here's a thread for you:
a) does the readership agree
b) if so, how do you, personally, go about chan
Robert - I agree about the challenges of tuning modern instruments to a lower pitch.
Since most (notable Alexander,) are now manufactured to at least 442, trying to go
lower than 435 would be horrendous. I really only meant that it would certainly be
worthwhile for more groups to try it out. I h
A few thoughts on this subject...
The Boston Symphony purposely tunes higher than 440, 442 I believe,
and they tune to an electronically generated tone, not the principal
oboist.
Boston/New England freelance orchestras tune to 440, but the pitch
ALWAYS rises.
I dabble in period instrument work
13 matches
Mail list logo
