source file: mills3.txt Date: Mon, 17 Nov 1997 20:26:32 +0100 Subject: Woodwinds for ATS From: "Patrick Ozzard-Low" Dear Tuning, Johnny Reinhard wrote: > While extra keys can add new microtonal combinations, they in themselves > get in the way of fluent playing. 'Extra keys' won't describe things adequately, unless one is talking about adapting conventional keywork. But this seems not to be true of the Kyma flute. For specific non-multiple-of-12 systems the idea of physically but NOT conceptually adapting existing the keywork seems out of the question (or defeats the object). For post-Logical-Bassoon type designs, (ie., computer-circuit controlled tone and (multiple) speaker holes) the ball game is quite different. The branched-tube design idea being developed at IRCAM would also seem to contradict this. > I believe there should be enough evidence in Prague for the quartertone > clarinets that the Czechs use for their annual performances of Haba's > _Matka_. I've know many clarinetists that have mastered various tunings, > though each focuses on different intonational terrain. Sorry, I lost you. Evidence for what? That they are an improvement for playing Haba or not ? On this topic I'd be very grateful if you can give me any more details. The 4 quarter tone clarinets I'm aware of (Digest 1230): Stein 1911 (built by Kohlert 1912), two commissioned by Haba (Kohlert 1924 and 1931), and Schuller (1933). Schuller's is the double-bore instrument now in Markneukirchen (see the photograph in Kroll's 'The Clarinet'). The others are single bore. I feel sure there must be others? Do you by any chance know any of the players who would be involved in Matka? > There is a fellow in California that developed "Fenchaphones" Thanks, that's a good lead. I'd be very grateful if anyone can give me a name or address etc. The idea is one I have been exploring for multiple tuning options. > I guess the exploration of the standard instruments needs to be through > before I would recommend changing their physical form. It will never be through! The idea of building new instruments doesn't mean the old one's are going to be scrapped... >Each offers so much more than present consciousness allows. Unfortunately, current instruments do not aid (as well as they might) the advancement of the microtonal imagination: we work with conventional designs because they are (in acoustic instrumental terms) the best we have, and because we play them. But, in a sense, the design of current instruments hinders the development of that conciousness, since they demand a degree of technique which will be unnecessary with new and specifically designed instruments for a given system (or systems). But - thanks for the your thoughts - also the references from Daniel Wolf. Patrick Ozzard-Low SMTPOriginator: tuning@eartha.mills.edu From: Johnny Reinhard Subject: Re: Woodwinds for ATS PostedDate: 17-11-97 21:54:07 SendTo: CN=coul1358/OU=AT/O=EZH ReplyTo: tuning@eartha.mills.edu $MessageStorage: 0 $UpdatedBy: CN=notesrv2/OU=Server/O=EZH,CN=coul1358/OU=AT/O=EZH,CN=Manuel op de Coul/OU=AT/O=EZH RouteServers: CN=notesrv2/OU=Server/O=EZH,CN=notesrv1/OU=Server/O=EZH RouteTimes: 17-11-97 21:53:24-17-11-97 21:53:24,17-11-97 21:53:34-17-11-97 21:53:34 DeliveredDate: 17-11-97 21:53:34 Categories: $Revisions: Received: from ns.ezh.nl ([137.174.112.59]) by notesrv2.ezh.nl (Lotus SMTP MTA SMTP v4.6 (462.2 9-3-1997)) with SMTP id C1256552.0072BE12; Mon, 17 Nov 1997 21:53:17 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA01078; Mon, 17 Nov 1997 21:54:07 +0100 Date: Mon, 17 Nov 1997 21:54:07 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA01076 Received: (qmail 8479 invoked from network); 17 Nov 1997 12:54:04 -0800 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 17 Nov 1997 12:54:04 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu