FYI
There is a movement to change the "international" system, prompted by the very
strong current of digital music whereas c1 is also referred to as c4. Great C
now becomes C2 and so on. This is becoming a source of confusion for those of
us who use the "old" system and Hans describes. Perha
Now is the time when many people plan their summer playing experiences.
I'd like once more to draw your attention to the Kammermusik Workshop
being held in Santa Fe, NM from July 24-31 this year. This woodwind
"camp" - actually held in the unique and very comfortable Sunrise Inn and
Retreat - is
The common wisdom is if it is on the horn, it can be played, albeit not easily.
If you consider the written "C" on the third space of the bass clef (modern
notation) as being the first partial of the open F horn, then the fundamental
is the written "C" below that, or the second ledger line belo
As I think I've mentioned here before, I read horn in F, which is all I've
been asked to read thus far, in mezzo-soprano clef, lowering accidentals in
front of the pitch B. Not so parenthetically, Farkas' book talks quite a
bit about reading for horn in different keys and mentions both transposin
There is again a confusion between partial & natural tones. The
numbering starts with the fundamental , if we go for the natural pitches
(tones), but starts an octave higher, if we go for the partials
Then all numbering would become crazy.
O.k. let´s start over again. The fundamental is
I understand what you are saying, but in physics, there is a difference between
fundamental and partials. The lowest pitch possible is the fundamental, and
the octave is called the FIRST partial. Yes, it is indeed the second note
possible, but it is the first overtone.
Perhaps there are trans
Orlando, I'm sorry to disagree but I believe Hans' definition is what's
generally accepted as correct.
I happen to be reading now an acoustics text book, "Fundamentals of Musical
Acoustics" by Arthur H. Benade, and he makes it very clear that the term
"partial" is used for any "part" of the soun
Thanks Steve. I'll pass this on to the physics professor at my institution.
He's clearly been getting it wrong for a while now. If he refutes Mr. Benade
and can back it up with some scholarly evidence, I'll pass it along.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTE
This web page has a good descriptions of the various tems being used .
http://www.music.sc.edu/fs/bain/atmi02/onc/
Jay Kosta
Endwell NY
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Steve F wrote
Acoustics" by Arthur H. Benade, and he makes it very clear that the term
"partial" is used for any "part" of the sound produced, including the
fundamental. It's a necessary way of looking at things because not all
sound coming from the same source are necessarily musically related,
Don't you love language? OK, next argument: Fixed "DO" or movable "DO" ?
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED]
Sent: Tuesday, January 11, 2005 12:32 PM
To: horn@music.memphis.edu
Subject: [Hornlist] RE: Notation
Steve F wrote
Great link, Jay. Thanks! I didn't know overtones and partials were not
interchangeable terms. So much for conservatory training...
O.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of Jay Kosta
Sent: Tuesday, January 11, 2005 11:55 AM
To: horn@music.memphi
Dear Susan,
I hope that the summer workshop will also include concerts of the Santa Fe
Chamber Music Festival as well as the opera. We offer 20% group discounts
through our ticket office manager, John Stevenson at 505-983-2075 ext 102.
Here are the programs around the time of the workshop.
BTW -
Once again my son, bass trombone and tuba expert, has changed my thinking on
pedal tone, but beyond my technique. He discovered that if he plays a Farkas
XDC mouthpiece with essentially a trumpet emboucher, he gets a quite good horn
sound. He's been around good hornplayers long enough to emula
I meant to send my last post directly to Susan off-list. oops!
Steve Ovitsky
-- Original Message ---
From: [EMAIL PROTECTED]
To: The Horn List
Sent: Tue, 11 Jan 2005 12:01:28 -0600
Subject: Re: [Hornlist] Kammermusik Workshop
> Dear Susan,
> I hope that the summer workshop will
The term "partial" includes the fundamental. The term "overtone" does not.
Orlando, I would suspect that switching the two terms is where much of the
confusion arises. There is a compelling reason to use partial numbers,
rather than overtone numbers. With partials, octaves of the fundamental are
al
I agree. I believe the acoustical charactaristics of the Horn are one of the
reasons at least to why the fundamental isn't always easy to reach. I
consider myself to have a decent low range, but I cannot start a fundamental C
all
the time - in fact I can only start the note on rare days ev
The botched word 'charactaristics' should be
'characteristics'
Whps! :)
-William
In a message dated 1/11/2005 1:57:31 P.M. Central Standard Time,
[EMAIL PROTECTED] writes:
charactaristics
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A good acoustics course is something that, in my not-so-humble opinion,
ought to be required in every undergraduate music program. The right person
to teach such a course is almost invariably *not* a musician but rather a
scientist with some musical skill and sensitivity.
>From what little I know
"Pandolfi, Orlando" <[EMAIL PROTECTED]> wrote:
Thanks Steve. I'll pass this on to the physics professor at my institution.
He's clearly been getting it wrong for a while now. If he refutes Mr. Benade
and can back it up with some scholarly evidence, I'll pass it along.
Oh, brother, we're in tr
You bet! This will be a good one to zing him with. You know how they always
know everything.
O.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] Behalf
Of Bill Tyler
Sent: Tuesday, January 11, 2005 4:33 PM
To: The Horn List
Subject: RE: [Hornlist] notation
"Pand
Got it, thanks to Jay Kosta's link. I missed the part where someone said that
the fundamental is one octave below middle "C". I'm sure it wasn't me.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] Behalf
Of Jeremy Hansen
Sent: Tuesday, January 11, 2005 2:30 PM
To: h
Orlando, this is perfect correct. But the numbering derives from the
natural pitches which start with the fundamental as step (1) & continues
with the partials as steps (2) up to (16) & more. Exactly, we are all on
the same page.
Just came home from a Don Carlo performance (Paris version), helping
on 1/5/05 3:15 PM, Kurtis Henderson at [EMAIL PROTECTED] wrote:
> I own a cd with a recording of Rosetti concerto in D minor that I really
> enjoy. I've owned it for a few years, and didn't realize that I had it, or
> that is was worthwhile till recently. I bought it on a whim once at a cd
> store
Please correct me if I am wrong, but do we not
"overblow" to achieve notes below the fundemental
pitch relative to the length of the tube!?
I do not agree that the "lowest possiable note" then
the octave above starts the series. The fundemental is
the lowest natural note for the given length exclu
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