Woodwinds for ATS

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
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