/11/2011 6:33 PM
To: NSP group
Subject: [NSP] Re: Tuning/pitch
There's a concerto of Ligeti's where there's a 'chord' for horns,
of a pair of E flats, on horns of different pitches, so they are a
comma apart.
A lovely noise, and very effective in context.
yup, duffin highly recommended. fairly technical but entertaingly
written.
I don't think I'll bother with tother.
c
-Original Message-
From: lute-...@cs.dartmouth.edu on behalf of John Dally
Sent: Fri 2/11/2011 5:44 PM
To: NSP group
Subject: [NSP]
look.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
John Dally
Sent: 11 February 2011 16:44
To: NSP group
Subject: [NSP] Re: Tuning/pitch
This discussion prompted me to read again a book I read a couple of
years ago: HOW EQUAL TEMPE
e ref to Arthur Benade's book. I've just bought it, and first
>> indications are that it is excellent!
>> Bob
>>
>> ----- Original Message - From: "Francis Wood"
>> To:
>> Cc: "Dartmouth NPS"
>> Sent: Thursday, February
I've just bought it, and first
> indications are that it is excellent!
> Bob
>
> - Original Message - From: "Francis Wood"
> To:
> Cc: "Dartmouth NPS"
> Sent: Thursday, February 10, 2011 2:38 PM
> Subject: [NSP] Re: Tuning/pitch
>
Francis,
Thanks for the ref to Arthur Benade's book. I've just bought it, and first
indications are that it is excellent!
Bob
- Original Message -
From: "Francis Wood"
To:
Cc: "Dartmouth NPS"
Sent: Thursday, February 10, 2011 2:38 PM
Subject: [NSP] R
Hi Dave
Thanks for the info -- my thought was based on looking at my copy
flageolet (french) by Charlie Wells -- plays over 2 octaves chromatic
with six holes, two on the back and four in front with large spooning
inside round each tone hole, he said that's the way he gets the hole
equi-dist
Paul, if you mean acoustic effects . . . probably nothing audibly detectable
resulting from minor warping.
If the warping has resulted in a mismatch between the tenon and socket,
permitting a small leak, that's another matter.
It would probably be true to say that all wooden artefacts warp, as
And just to throw another q out therewhat is the effect, if any, of
minor warping of wooden chanter/drones?
Paul
Dublin
On Fri, Feb 11, 2011 at 10:32 AM, Dave Shaw <[1]d...@daveshaw.co.uk>
wrote:
I was under the impression that if cavities get carved inside a bore
I was under the impression that if cavities get carved inside a bore (not
just pin-pricks of drill points) with the cavity around the sound hole
area, it will reduce the pitch of that particular note to a slight extent
in the bottom octave (and more so in the second octave, which is out of
scop
I was under the impression that if cavities get carved inside a bore
(not just pin-pricks of drill points) with the cavity around the sound
hole area, it will reduce the pitch of that particular note to a slight
extent in the bottom octave (and more so in the second octave, which is
out of scop
I have been enjoying the thread discussions since I joined the list serve back
in the fall. I have now been playing my F set since late November and have
learned about five tunes on the 17 key chanter. I get tired easy and have some
squeaks from the lower registers but otherwise I am making ni
On 10 Feb 2011, Francis Wood wrote:
> I don't think I've seen Arthur Benade's Fundamentals of Musical Acoustics
> mentioned
> in this forum.
I think I've seen it on Barry's shelves. Which is where it's staying unless my
son
borrows it.
No point me even trying - it would be a huge waste of t
On 10 Feb 2011, at 13:43, Julia Say wrote:
> a small depression could surely catch a sound
> wave at a funny angle and cause it to behave in a less than theoretically
> perfect
> manner
It's really much more like the effect caused by a tiny irregularity in a tooth.
It seems massively more i
nt, pretty much.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Julia Say
Sent: 10 February 2011 13:44
To: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
> From: Francis Wood Sent: 10 February 2011 11:55
> Personally, I&
> From: Francis Wood Sent: 10 February 2011 11:55
> Personally, I'd avoid leaving those marks.
As would we all, I think.
> But I'm grateful to those early makers
> who did, because it leaves unequivocal evidence of the intended position of
> those
> tone-holes, no matter how much they have be
2011 11:55
To: julia@nspipes.co.uk
Cc: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments
Quoting Francis Wood :
In response to your question about unevenness at those drill points
and the effect on standing waves, I strongly doubt (and this is just
a guess) that it would have any effect on standing waves. Consider
that the volume of the cavity caused by a tiny drill point is
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments which all show an extraordinary degree of craftsmanship.
I've just had a look inside
On 9 Feb 2011, Philip Gruar wrote:
> I'll just say that with care, a flat-ended drill and delicacy
> of touch, there should be no need for rods down the bore. You just stop the
> drill before it goes too deep!
Well, quite. One can both hear and feel the drill reaching the bore.
Nevertheless
>As establishing frequencies was yet to come,
I think establishing frequencies goes back at least as far as Mersenne's time
but I've no idea how they did it.
I can't think of any other explanation for the figures accompanying his
illustration of the various sizes in the violin family, which app
g situation.
I'll stop asking questions.
I'll find a copy of that book and read it.
Colin Hill
- Original Message -
From: "Philip Gruar"
To: ; "Dartmouth NPS"
Sent: Wednesday, February 09, 2011 11:29 PM
Subject: [NSP] Re: Tuning/pitch
- Original Me
- Original Message -
From: "Julia Say"
This can also be seen on some modern sets (various makers), although I
have been
taught to put a rod down the bore before drilling to prevent it happening!
(And had
the bore inspected closely to check I'd done so!)
Sets have been observed wher
On 9 Feb 2011, Francis Wood wrote:
> What
> Julia said was that when a reed was first put in the chanter it was
> said to have played at F+20. I took that to be an interesting and
> amusing anecdote without any specific conclusions to be drawn from it
> [is that correct, Julia?]
When I was to
On 9 Feb 2011, at 16:02, Anthony Robb wrote:
> Hello Francis, John and others with the stamina to keep reading this,
> The puzzling thing is that we have had two reports in recent postings
> of Reid sets happy to play up near F# (for example Billy Pigg) and yet
> Andrew Davison's Reid set
nal Message -
From: "Paul Gretton"
To: "'Colin'" ;
Sent: Wednesday, February 09, 2011 7:20 AM
Subject: [NSP] Re: Tuning/pitch
In a large number of cities, the tuning standard was taken from the organ
(specifically the flue pipes) in the church, the cathedra
lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Julia Say
Sent: 09 February 2011 16:42
To: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
On 9 Feb 2011, Anthony Robb wrote:
> The puzzling thing is that we have had two reports in recent postings
>of Reid sets ha
On 9 Feb 2011, Anthony Robb wrote:
> The puzzling thing is that we have had two reports in recent postings
>of Reid sets happy to play up near F# (for example Billy Pigg) and yet
>Andrew Davison's Reid set are said to be happy at F+20.
We know that Billy was in the habit of making hi
But have they been rereeded (almost certainly) and retuned (quite possibly)
since leaving the workshop? Rereeding can account for a semitone, and the
tuning could then have been readjusted for consistency once they were flattened.
John
-Original Message-
From: lute-...@cs.dartmouth.e
Hi Anthony,
Perhaps we should also take reed variations into consideration.
Cheers,
Richard
- Original Message -
From: "Anthony Robb"
To: "Dartmouth NPS"
Sent: Wednesday, February 09, 2011 11:02 AM
Subject: [NSP] Tuning/pitch
Francis wood wrote today:
There's no reason to s
On 9 Feb 2011, at 15:11, Paul Gretton wrote:
> I would assume that the Reids worked to a chosen pitch standard in the same
> way as did Silbermann or - more relevant here - the Hotteterre gang.
And at least the Hotteterre gang had the sense to pitch their instruments a
whole tone below modern p
u [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Francis Wood
Sent: 09 February 2011 10:31
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP] Re: Tuning/pitch
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
> So in fact the variety of pitches for the NSP is extremely traditional!
Two
&
edu group
>Subject: [NSP] Re: Tuning/pitch
>
>
>On 9 Feb 2011, at 07:20, Paul Gretton wrote:
>
>> So in fact the variety of pitches for the NSP is extremely
>traditional! Two
>> hundred years ago it wouldn't have been thought in any way
>remarkable.
>
>
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
> So in fact the variety of pitches for the NSP is extremely traditional! Two
> hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others,
I must say, I disagree here.
It's often forgotten that the the NSP of two h
etton
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Colin
Sent: 09 February 2011 01:37
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Tuning/pitch
Which were tuned with reference to..
Colin Hill
- Original Message -
Fro
Which were tuned with reference to..
Colin Hill
- Original Message -
From:
To: ;
Sent: Tuesday, February 08, 2011 9:27 PM
Subject: [NSP] Re: Tuning/pitch
Before the tuning fork was invented, there were pitch pipes.
John
--
To get on or off this list
Before the tuning fork was invented, there were pitch pipes.
John
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Good points.
I suppose as the pipes are essentially a solo instrument, it wouldn't matter
what note they sounded provided the things were in tune with themselves.
That's essentially true for many rural instruments (I remember making penny
whistles from elder wood as a child and goodness knows
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