I have been off stage many times, not nearly as many times as Hans. But, I have been off stage with Jerry Ashby who said tune 10% sharp.
The interesting fact is that many times the Maestro tries many different positions for off stage brass. Regardless of position we needed to be around 10% sharp. Meaning that the distances were different but the pitch was still flat (or we needed to be sharp). Also meaning behind curtains or not, downstairs, behind the orchestra, out in the hall, the pitch of the off stage is flat to the orchestra. As Hans said when you are standing off stage it sounds in tune with the orchestra. Debbie Schmidt Sent from my iPhone On May 30, 2011, at 9:53 AM, Daniel Canarutto <[email protected]> wrote: > On 30May 2011, at 15:27 , Curt Austin wrote: > >> The simple physics says it cannot be so, but someone acquainted with >> the full physics of sound might know the explanation... > > That is an important point which is often forgotten in discussions on > this (and the other) list. > Some people tend to utter very sharp statements basing they arguments > on the most elementary formulas, seen as the final word of "scientific > truth". But true science is usually a much more complex affair. Not > being an expert on acoustics I do not dare to make hypotheses, but > would be very interested in knowing a convincing explanation of the > effect under consideration, be it physical or psychological (or both?). > > Daniel Canarutto > mathematical physicist & dedicated amateur hornist > http://www.dma.unifi.it/~canarutto/ > http://www.corno.it/ > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/jasoncat%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
