|
Evan Johnson
|
 |
« Reply #60 on: 20:59:12, 20-07-2007 » |
|
One of my compositional trade secrets (copyright me ca. 2004) is that playing a low D on piccolo while stopping the end with the fifth finger produces a lovely soft woolly quasi-F# (sounding above middle C)...
|
|
|
|
|
Logged
|
|
|
|
|
increpatio
|
|
« Reply #61 on: 21:09:32, 20-07-2007 » |
|
If it's going up a fifth it sounds like it's moving from the second harmonic to the third harmonic - remember, doubling the wavelength only gives an octave between the first two harmonics, it decreases on a 1:2::2:3::3:4 etc. ratio after that.
And there Isn't there something about closed pipes missing every even harmonic as well? That means if the recorder doesn't have play the fundamental frequency at all that things would make sense. Is there something like that going on with the descant recorder? (that it's somehow playing an octave higher than it should). |
|
|
|
« Last Edit: 21:12:24, 20-07-2007 by increpatio »
|
Logged
|
|
|
|
|
autoharp
|
|
« Reply #62 on: 23:25:33, 20-07-2007 » |
|
One of my compositional trade secrets (copyright me ca. 2004) is that playing a low D on piccolo while stopping the end with the fifth finger produces a lovely soft woolly quasi-F# (sounding above middle C)...
Continuing the tangent of low notes on a high level, I'm assured by an ex-bassoonist friend that there are some strange fingerings that result in notes lower than the bottom Bb. Any bassoonists around to confirm this ? |
|
|
|
|
Logged
|
|
|
|
|
Tony Watson
Guest
|
|
« Reply #63 on: 23:33:38, 20-07-2007 » |
|
How about that part in the Weber Horn Concertino where the player has to play a low note and then, by humming a higher note at the same time, he brings out other notes, thus playing a chord by himself? Is that possible on a Wagner tuba or baritone or other instruments?
|
|
|
|
|
Logged
|
|
|
|
Notoriously Bombastic
Posts: 181
Never smile at the brass
|
|
« Reply #64 on: 23:51:38, 20-07-2007 » |
|
Double stopping gets easier the lower the instrument is - or possibly the larger the mouthpiece?
On baritone/euphonium/trombone I can manage a few fifths (enough to start the Pink Panther anyway) and tenths. For some reason, I can't get octaves or unisons to work.
Quite a lot of the modern tuba repertoire uses multiphonics. I always think this is unfair to lady tuba players.
|
|
|
|
|
Logged
|
|
|
|
|
harmonyharmony
|
|
« Reply #65 on: 23:52:10, 20-07-2007 » |
|
Actually I was just about to ask about vowel sounds. Does it change the colour of a pitch very much if a trombonist (and this is the instrument I'm really interested in here) is making a different vowel sound, or does this affect the pitch too...
Would be interested to know about this on the recorder too.
|
|
|
|
|
Logged
|
'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
|
|
|
Biroc
|
|
« Reply #66 on: 23:54:29, 20-07-2007 » |
|
Would be interested to know about this on the recorder too.
You wouldn't be writing for the HCMF Young Composers' Competition would you hh...  |
|
|
|
|
Logged
|
"Believe nothing they say, they're not Biroc's kind."
|
|
|
Notoriously Bombastic
Posts: 181
Never smile at the brass
|
|
« Reply #67 on: 23:58:42, 20-07-2007 » |
|
Does it change the colour of a pitch very much if a trombonist is making a different vowel sound, or does this affect the pitch too...
I'll give it a go and let you know. Didgeridoo perhaps? |
|
|
|
|
Logged
|
|
|
|
|
harmonyharmony
|
|
« Reply #68 on: 00:04:08, 21-07-2007 » |
|
Would be interested to know about this on the recorder too.
You wouldn't be writing for the HCMF Young Composers' Competition would you hh... Yes, how did you guess? This isn't going in my piece though - it was going to but the working method that I was using just wasn't working at all and I was writing such utter poo that I decided to start on a completely new tack not using vowel sounds at all. Having put as much time into the planning of that piece I hope that it will come good one day, hence me asking the question now.  |
|
|
|
|
Logged
|
'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
|
|
|
oliver sudden
|
|
« Reply #69 on: 00:16:14, 21-07-2007 » |
|
hh, I have a recorder for you:  On my computer that's actual size (16cm and a bit long). I can just fit my fingers on it. Garklein, an octave above the soprano. Plays safely from c''' to a'''', more or less. Needs a surprising amount of breath or it underblows, but that means you can make the pitch slide around like mad. Could go nicely with a trombone and a sine tone.  Oh no! I've just read that Küng are stopping their Classica range. The successors are the Superio range but sopranino and garklein aren't in it. Damn shame, the Classica garklein is a lovely thing. The Studio garkleins are made of lighter woods - there's a grenadilla Classica which can be superb. Better get one while you can. Er, if you're interested. Sorry. In a sense you can't get much further off topic than this...  |
|
|
|
« Last Edit: 01:19:27, 21-07-2007 by oliver sudden »
|
Logged
|
|
|
|
|
Chafing Dish
Guest
|
|
« Reply #70 on: 04:18:20, 21-07-2007 » |
|
One of my compositional trade secrets (copyright me ca. 2004) is that playing a low D on piccolo while stopping the end with the fifth finger produces a lovely soft woolly quasi-F# (sounding above middle C)...
Continuing the tangent of low notes on a high level, I'm assured by an ex-bassoonist friend that there are some strange fingerings that result in notes lower than the bottom Bb. Any bassoonists around to confirm this ? All double reeds can produce 'virtual' fundamentals well below their range. This is because you essentially produce a multiphonic with two prominent notes a fifth apart, resulting in a phantom fundamental one octave below the lower pitch. My record with the oboe is to produce an A-flat one octave and a whole step below the bottom pitch of the instrument. And I don't even play the oboe. By the way, it's an extraordinarily nasty sound, and not very stable or reliable. |
|
|
|
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #71 on: 08:44:31, 21-07-2007 » |
|
And I don't even play the oboe. By the way, it's an extraordinarily nasty sound, and not very stable or reliable.
That's also more or less the reason I don't play the oboe although I wouldn't have put it quite as strongly as that... |
|
|
|
|
Logged
|
|
|
|
|
Chafing Dish
Guest
|
|
« Reply #72 on: 11:28:20, 21-07-2007 » |
|
I didn't mean the whole oboe, I meant these fake fundamentals, though some are more reliable than others. Ask an oboist what they think of the sound of the clarinet, and you'll probably often get a similar answer to yours, Ollie. Maybe it's a point of pride amongst you reedy types?  |
|
|
|
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #73 on: 11:51:21, 21-07-2007 » |
|
Er, it was a joke. Obviously not a good one. Here, have a bigger smiley.  |
|
|
|
|
Logged
|
|
|
|
|
oliver sudden
|
|
« Reply #74 on: 14:02:23, 21-07-2007 » |
|
In a bid to get things a little closer to topic... Don't you love it when people think anything below E for trombone they have to write Pedal over? Although this chap made up for it by giving the bass trombone a rather special noise. You all know the piece of course.  |
|
|
|
|
Logged
|
|
|
|
|
