Klarinet Archive - Posting 000326.txt from 2000/08

From: "Allan Thompson" <pleco@-----.za>
Subj: Re: [kl] My memory /Tony Pay`s Weber
Date: Mon, 14 Aug 2000 02:32:57 -0400

Tony W,

The le Huray book does not go into detail on the tuning joints, but they
seem to be sections of the instrument, particularly of flutes, that allowed
for fluctuations in pitch, much like long and short barrels on modern
clarinets, but with far more variation in pitch (although what this did for
the general intonation of the instrument is open to question - I presume
that the player had a lot of embouchure adjustments to make). For example,
in 1752 Quantz recommended that in fast and loud movements a flat joint
should be used, with the increased breath pressure sharpening the note.
Slow, softer movements would therefore benefit from a sharp-pitched tuning
joint. Whether the player would change joints between movements of a
concerto is unclear.

Allan Thompson

----- Original Message -----
From: Tony Wakefield <tony-wakefield@-----.net>
Subject: Re: [kl] My memory /Tony Pay`s Weber

> Hi Allan,
> I don`t have access to the book you mentioned, and I wondered if you could
> be a little more precise as to what tuning "joints" are. Are they simply
> different length barrels, or are they "rings" inserted into the instru.
> either on to the barrel, or below the barrel? Or are they real top joints
of
> varying lengths? >This last option would seem to be rather cumbersome and
> expensive don`t you think - to have 7 top joints. I think we`ll rule that
> option out, shall we?
> Any flimsy revelation will be welcome. Many thanks for your other info.
> Best,
> Tony W.
> ----- Original Message -----
> From: Allan Thompson <pleco@-----.za>
> To: <klarinet@-----.org>
> Sent: 13 August 2000 08:48
> Subject: Re: [kl] My memory /Tony Pay`s Weber
>
>
> > Peter le Huray's excellent book, "Authenticity in Performance", has it
> that
> > by the end of the 18th century, wind instrument makers provided up to as
> > many as seven tuning joints to ensure that any pitch encountered would
be
> > manageable. The late Baroque was about a semi-tone lower than today,
that
> is
> > about A@-----. By 1820, the London Philharmonic society performed
Beethoven
> 9
> > at 433, thirty years later it was played at 453(!). Steinway pianos in
the
> > late 19th century were tuned at 455, and it was only in 1955 that A=440
> was
> > adopted as the standard frequency by the International Organisation for
> > Standards. (see le Huray 1990:154ff)
> >
> > Allan Thompson
> >
> >
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