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Re: Ligature for soloists?

Author: Paul Aviles
Date: 2022-08-09 22:11

I just thought I'd add some non subjective technical analysis for you "double blind types."

Above are screen shots of a program called Melodyne. Like it or not, this is used to alter "bad notes" for pretty much every artist you can name (no exceptions). I placed a few Fedele clips into Melodyne just to illustrate graphically what is going on......without any alterations (I swear).

What you are seeing are graphic representations of individual notes over time (beginning of note at far left of object). Each of these is called a blob (no, really). You'll have to look carefully at several things. The main part for us is the overall shape of the blob's outline. This illustrates where the energy of the note is. Then (the main function of Melodyne) there is the placement of the blob within the grey and white bands. Looking to the far left of the screen shots you'll notice concert pitch note names. The very center of the band (up and down) is "A=440" right on pitch. Any deviance upward is sharp and the reverse is true.

Ok, I start with the German Silver Bonade found at 5:30 in the video. Look at the SHAPE of these blobs. All look like bells on their sides. So the energy of these short notes is mostly upfront, all are spot on for intonation (maybe a little low on the lowest B and G at the bottom).

Next is the Eddie Daniels that he hated (much later in video) for reference. Notice the shapes are all longer (less or no initial flare) and they start low and only begin to climb to pitch.

Third is a real close up of the German Silver Bonade. This is to show the initial quick high pitch bump at the beginning of the note, the relatively straight line of pitch and how the whole is at pitch or slightly above.

Fourth now gets a little picky (stick with me). This is the modern Bonade at 5:55 in the video contrasting it with the German Silver (my first example). These are really close up to show the note to note contrast. First note is the "terrible F." Take a step back and look at the outline of the whole blob. It is more square, less energy upfront. Then look at where the pitch sits. It starts low and rides a little low. Compare to the "good F." That note starts with a high transient and actually rides a little high.

Number 5 is hardest to read. I see that the line representing the pitch in time wobbles quite a bit on the "terrible D," but the "good C" has a straighter line representing focus; stability. Perhaps this has more to do with whether Fedele felt that he was forcing to compensate.

The sixth image is of the "good C" going to a B that was implied to be yet another bad note and we can see the boxier nature of the blob shape and the inconsistency of the pitch line.

I find these contrasting notes MOST interesting because we did not change ANY EQUIPMENT, but rather only moved to the next note. THAT is the part I find most fascinating about this demonstration and Dale saying that ligatures CAN effect consistency of sound over the range of the horn.

[Images posted further down. I had the drill but one image was just a hair over 200kb]

................Paul Aviles

Post Edited (2022-08-09 22:34)

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Ligature for soloists? new

Wookie001

2022-07-31 10:20