Woodwind technologies and tuning

One of the most interesting musicians around is the flutist and composer
Ann La Berge (recordings and scores available form Frog Peak Music). She
has taken advantage of the fact that using a flute designed for 12tet to
play in another intonation is going to be done at - depending on how you
hear it - either the cost of lost timbral smoothness or the benefit of
gained timbral variety.

An analogy could be made to the quality early woodwind instruments (and t=
he
hand horn) take on when they are played in keys requiring cross fingering=
s.


The choice is something like the following: if you want an evenness if to=
ne
quality throughout the registers in an alternative tuning, you probably
(wide-reeded bassoons, auloi, nagaswaram and piri being possible
exceptions) have to physically modify exiting instruments or build new on=
es
with appropriate keyworks. If, on the other hand, you accept or even wish=

to cultivate variation in tone color, then historical and contemporary
woodwind provide excellent resources.

Now - who's ready for a trio of Uilleann Pipes, Sarrousaphone and Serpent=
?


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