(for anyone puzzled by this discussion, one cent is 1/00 th of a semitone. So
20 cents is 1/10th of a whole tone, or 1/10th of the difference between C and
D.That's not a subtle difference, of course!)
On 7 Feb 2011, at 17:26, Julia Say wrote:
Shortly after Andrew Davison took over the 17 key
Absolutely Francis, music is a sociable activity, I also think the idea
is take your pipes out of the box and be able to muck in with any other
type of instrument. I may be considered different but I like the idea of
just saying - yep it's a Bb transposing, so treat it like a clarinet. I
Equal temperament of course has its place as does chromaticism, but I think
except for keyboard-players, who can't (unless they have split-key harpsichords
or such like), even when playing highly chromatic music the best musicians
constantly tweak their tuning to produce the most harmonious
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one in mind as I was primarily
speculating on the process (that's why I wrote a maker rather than one
maker, but didn't CR fairly recently mention someone down the road making
lots and lots of
[christopher.bi...@ec.europa.eu]
Sent: 07 February 2011 09:56
To: dir...@gmail.com
Cc: bri...@aol.com; chrisdgr...@gmail.com; nsp@cs.dartmouth.edu
Subject: [NSP] Re: Esoteric tuning relationships
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one
A compromise might be a pair of e's, one a true 6th above G,
for playing in G;
another - a perfect fourth above the B, and keyed, for playing
in E minor.
Yes, this is what I meant by 8 (different) notes to the octave rather than just
seven.
The lower, keyed, high E would also sound better
And I've been telling people it is because all notes have got
gradually
sharper over the last 150 years, and that the Reid 'ur-pipes'
were made
when G was somewhere between where F and G are now. Have I been wrong
all this time?
This is probably an associated factor. My speculation about
@cs.dartmouth.edu
Subject: [NSP] Re: Esoteric tuning relationships
On 7 Feb 2011, at 11:21, Gibbons, John wrote:
A compromise might be a pair of e's, one a true 6th above G, for
playing in G;
another - a perfect fourth above the B, and keyed, for playing in E
minor.
The low E might be harder
: Esoteric tuning relationships
And I've been telling people it is because all notes have got
gradually
sharper over the last 150 years, and that the Reid 'ur-pipes'
were made
when G was somewhere between where F and G are now. Have I been wrong
all this time?
This is probably an associated
On 7 Feb 2011, at 13:03, Gibbons, John wrote:
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
Yes, that's right. Or to be more precise, Reid pipes play most happily at F#
using (and insert italics here) the most
Of
Julia Say
Sent: 07 February 2011 17:26
To: nsp@cs.dartmouth.edu; Francis Wood
Cc: 'Dru Brooke-Taylor'; Gibbons, John
Subject: [NSP] Re: Esoteric tuning relationships
On 7 Feb 2011, Francis Wood wrote:
Yes, that's right. Or to be more precise, Reid pipes play most happily
at F# using
Hi Paul. I read that book, along with another one which argued that
equal temperament made Modern (post-modern?) Civilization the
greatest the world has ever known, or something like that. Sorry, I
don't remember the name of the book or its author. I didn't agree
with his premise or his thesis,
To: nsp nsp@cs.dartmouth.edu
Sent: Fri, Feb 4, 2011 11:13 pm
Subject: [NSP] Re: Esoteric tuning relationships
So that is why my pipes always sound out of tune, and I thought it was
just poor musicianship on my part! I have just checked out the
deviation on my pipes with a tuner on my Iphone
Thanks all for these responses.
I'm trying in vain to remember the name in a BBC Radio3 programme some
while ago about the Italian composer, just before Gesualdo, who devised
the most amazing system to mean that all intervals were perfectly in
tune, but the instruments, and singers,
I put this down to my pipes being tuned with G as their
home key, as it
were,
This is probably it, as you probably (I hope) have your pipes tuned in
more like just intonation than equal temperament. So your nominal B,
for example, will be very flat as the second degree of
The tuning given here is basically just intonation rather than meantone:
http://www.machineconcepts.co.uk/smallpipes/tuning.htm
In other words, acoustically pure intervals. No tempering at all.
but on a piano a fifth is a fifth is a fifth (nearly).
Nearly = two cents narrow cf. Mike Nelson's
Btw, Rob Say's nsp simulator is in equal temperament. I've discussed this with
him and he agrees that it's less than ideal but it's neverthless a good
starting point for beginners - which was what is was intended to be.
When it tells you that, for example, the G and D drones are in tune, the d
: Esoteric tuning relationships
To: [2]rich...@lizards.force9.co.uk, [3]nsp@cs.dartmouth.edu
Btw, Rob Say's nsp simulator is in equal temperament. I've discussed
this with him and he agrees that it's less than ideal but it's
neverthless a good starting point for beginners - which was what
This makes a lot more sense on a mean-tone tempered instrument like NSP,
than on a notionally equal-tempered one like a piano.
Different keys do have perceptibly different intervals between the various
degrees on NSP,
so G-d is pretty true and E-B is on the flat side;
but on a piano a fifth is
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