Re: [tuning] Petr Pařízek's flute sextet

Hi Tony.

Glad you like my music. I'm not sure if you were watching the list in January when we were discussing my electronic piece called "One In Each Way". The chords I used there have just the same origin as those you could hear in the six-fluted "Neuropeon". I was doing everything I could to find the best possible approximations to harmonic chords like 5:6:7:8:9:10, 6:7:8:9:10:11, 7:8:9:10:11:12, or some variants of these -- for example, while the other flutes played 7:8:9:10:11, I played the 12th harmonic and sang the 6th one to get a larger part of the series, or while they played 6:7:8:9:10, I alternated between 5 and 11.

As to the glissandi, I don't have holes in my flute keys so I can't play long glissandi without strong timbre changes. That is why I was making intentional breaks there. For example, if I turn the embouchure hole very much away from my lips and play an E4, what comes out is about 30 cents higher than a regular E4. Interestingly, if I turn the embouchure hole very close to my lips and play an E4, what I hear is some 60 cents lower than a regular E4! So I could quite happily slide from one tone to another with a single fingering -- for instance, by playing an E4 and gradually raising the angle between the flute and my lips, then suddenly making the angle small again and playing an F4, and so on. Another important fact is that the detuning you can get this way is even larger in the range of about B4-Eb5 than for the rest of the tones, which means that the timbre variation doesn't need to be so strong if you have some practice with this.

Feel free to ask if you want to know more.

Petr

Good to hear that people on the list are also interested in glissandi!

I wanted to see the score of this flute piece if available at all
Petr.??
and maybe I can ask you some more questions.

As for the glissandi, it is very interesting to such a work done with
a flute with keys and I wonder if you have an orchestration chart
that could tell us from which note (with the +/- cents deviation
indicated)
to which note can you do glissandi, since I guess in higher registers
the slide must be broader.

I would also like to know if you are available to play pieces
using polymicrotonality and glissandi (at the moment just in
a personal level but with thoughts of performances too)

I really thought the chords you played where gorgeous!

Tony Salinas

On 2007/11/25, at 20:59, Petr Pařízek wrote:

>
> Hi Tony.
>
> Glad you like my music. I'm not sure if you were watching the list
> in January when we were discussing my electronic piece called "One
> In Each Way". The chords I used there have just the same origin as
> those you could hear in the six-fluted "Neuropeon". I was doing
> everything I could to find the best possible approximations to
> harmonic chords like 5:6:7:8:9:10, 6:7:8:9:10:11, 7:8:9:10:11:12,
> or some variants of these -- for example, while the other flutes
> played 7:8:9:10:11, I played the 12th harmonic and sang the 6th one
> to get a larger part of the series, or while they played
> 6:7:8:9:10, I alternated between 5 and 11.
>
> As to the glissandi, I don't have holes in my flute keys so I can't
> play long glissandi without strong timbre changes. That is why I
> was making intentional breaks there. For example, if I turn the
> embouchure hole very much away from my lips and play an E4, what
> comes out is about 30 cents higher than a regular E4.
> Interestingly, if I turn the embouchure hole very close to my lips
> and play an E4, what I hear is some 60 cents lower than a regular
> E4! So I could quite happily slide from one tone to another with a
> single fingering -- for instance, by playing an E4 and gradually
> raising the angle between the flute and my lips, then suddenly
> making the angle small again and playing an F4, and so on. Another
> important fact is that the detuning you can get this way is even
> larger in the range of about B4-Eb5 than for the rest of the tones,
> which means that the timbre variation doesn't need to be so strong
> if you have some practice with this.
>
> Feel free to ask if you want to know more.
>
> Petr
>
>
>

Hi Tony.

I'm writing very briefly now as I'm leaving for school in about half an hour but I unfortunately have to disappoint you that I haven't made any score of Neuropeon. I only made the recording from the very beginning. What do you mean by "glissandi and polymicrotonality"?

Petr

PS: I've never seen any charts stating how much you can detune from the "normal" pitch. I've just found out myself.

Hi Petr,

By polymicrotonality I meant changing tuning sytem within the same piece,
and as for glissandi I mean a bit more than just sliding pitch but working
a with dynamic treatments of pitch and amplitude combined together.

As for Neuropeon if you still have some annotations about the piece that
you are open to discuss with us that would be great!

You also achieved great precision with the chords and I would like to know
how did you managed to do so. Where you listening to the pitch you had to
play while playing? to all the previous tracks and building it up like that?

Sincerely,

Tony Salinas

>
> Hi Tony.
>
> I'm writing very briefly now as I'm leaving for school in about > half an hour but I unfortunately have to disappoint you that I > haven't made any score of Neuropeon. I only made the recording from > the very beginning. What do you mean by "glissandi and > polymicrotonality"?
>
> Petr
>
> PS: I've never seen any charts stating how much you can detune from > the "normal" pitch. I've just found out myself.
>
>
>
>