On Tue, 26 Jul 2005 21:23:00 -0700 Howard Posner <[EMAIL PROTECTED]> writes: > Sal Salvaggio wrote: > > > What was the low pitch in Bach's Germany - 392? > The question assumes there was one low pitch in all of Germany, > which is not the case. Here are a couple of web sources on the subject.
<snip> > Bach worked with instruments at a number of pitches > including Cornett-Thon (around 470 Hz.), Kammerton (about 418 Hz.) and Tief > Kammerton (403-395 Hz.). The notation of various voices varied, depending on > where he was at the time (all pitches given as a' in Hz) <snip> > Köthen (1717-1723): > the pitch is the same for all instruments. In trying to establish what it > was, the vocal scores help. The range of the parts is unusually high, and > when Bach used Köthen material in Leipzig, he lowered the vocal parts to > Tief Kammerton. One can assume therefore that this was the Köthen pitch. The > problematic trumpet part in the 2nd Brandenburg would be much easier on an > instrument at Tief Kammerton. [I have no clue why it would make any > difference to the trumpet player what the pitch was, since his notes > would be the same --HP] > Howard: Next time we see each other, remind me to bring along a trumpet so you can experience it for yourself. ;-) The point is that on brass instruments, pitch is in large part determined by the tension of the lip muscles. Let's say that we are talking about playing an 'a" above the staff in modern treble clef. This is at least a moderately high note on either a modern or a Baroque valveless trumpet. To produce that note in the Tief-Kammerton environment, the player has to generate frequency of about 800 Hz. To produce that note in the Cornett-Ton environment, the player has to produce a frequency of around 940 Hz. The difference in terms of muscular effort required is quite substantial. Note that the commentary says that only the vocal parts were transposed, so the page handed the trumpet player was still the same. What he would do is use a crook and maybe a longer set of tuning bits at Tief-Kammerton than he would for the other pitch standards in order to make his set of harmonics line up with the notes he is being asked to play. Daniel -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
