Comments on: Fixed-pitch and Adjustable-pitch Instruments http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments Just another WordPress weblog Sat, 09 Apr 2011 20:12:20 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Car Hire Alicante Airport http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments/comment-page-1#comment-1186 Car Hire Alicante Airport Thu, 04 Nov 2010 17:14:58 +0000 http://kurticus.com/?p=634#comment-1186 last week our group held a similar discussion about this topic and you show something we have not covered yet, thanks. - Lora last week our group held a similar discussion about this topic and you show something we have not covered yet, thanks.

- Lora

]]> By: Kurticus http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments/comment-page-1#comment-248 Kurticus Thu, 31 Dec 2009 04:37:34 +0000 http://kurticus.com/?p=634#comment-248 All valid points. Thanks for sharing! All valid points. Thanks for sharing!

]]> By: Igor Iachimciuc http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments/comment-page-1#comment-247 Igor Iachimciuc Wed, 30 Dec 2009 07:07:02 +0000 http://kurticus.com/?p=634#comment-247 It is very interesting subject. Thanks for posting it. Nobody can deny that in majority of cases the piano is interpreted as an accompaniment instrument. But first, other non-fixed pitch instruments may be similarly interpreted. Have you listen to the early sonatas for violin and piano by Mozart? (Actually the real titles are: The sonatas for the PIANO and violin). In these compositions the violin, rather than the piano, is the accompaniment. Second, I think your categorization of likeness of certain combinations of instruments doesn't have to do with the artistic value of music. I am sure that one can write beautiful music for any combination of instruments through the avoidance of the traditional functional differentiation of these instruments. It is very interesting subject. Thanks for posting it. Nobody can deny that in majority of cases the piano is interpreted as an accompaniment instrument. But first, other non-fixed pitch instruments may be similarly interpreted. Have you listen to the early sonatas for violin and piano by Mozart? (Actually the real titles are: The sonatas for the PIANO and violin). In these compositions the violin, rather than the piano, is the accompaniment.
Second, I think your categorization of likeness of certain combinations of instruments doesn’t have to do with the artistic value of music. I am sure that one can write beautiful music for any combination of instruments through the avoidance of the traditional functional differentiation of these instruments.

]]> By: Vassili http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments/comment-page-1#comment-244 Vassili Sun, 20 Dec 2009 23:39:11 +0000 http://kurticus.com/?p=634#comment-244 I'll just say that in my Synesthetic experience, I see different shades of color. In the case that a piano is performing with a trumpet or cello, I'll see whatever colors there may be, but because of the tuning, one color might be a strong or bold shade while the other might be a pale shade. I don't know what it's worth, but I find it interesting and just another way to experience harmony. Again, that's just for me and every person who has Synesthesia experiences things differently. I’ll just say that in my Synesthetic experience, I see different shades of color. In the case that a piano is performing with a trumpet or cello, I’ll see whatever colors there may be, but because of the tuning, one color might be a strong or bold shade while the other might be a pale shade. I don’t know what it’s worth, but I find it interesting and just another way to experience harmony. Again, that’s just for me and every person who has Synesthesia experiences things differently.

]]> By: Kurticus http://kurticus.com/fixed-pitch-and-adjustable-pitch-instruments/comment-page-1#comment-243 Kurticus Sun, 20 Dec 2009 21:10:18 +0000 http://kurticus.com/?p=634#comment-243 Jeremy: Please see my response to Evan regarding instrument tendencies. Also, it seems you have supported my point by saying that choirs intuitively adjust their pitch to be in tune according to the harmony, so why would that not be expected of a flute player? Well, it is, and good ensembles know this, which is why I have little issue with good ensembles that are aware of harmonic shifts within their rep and place pitches accordingly. If a melodic line is projecting a certain harmony, then it is also important that each pitch be placed accordingly on a melodic level. If the harmonies switch every chord, however, the factor that determines pitch placement is purely harmonic, and not melodic. As far as my ear goes, I am aware when I hear a minor seventh that has not been placed low enough in a dominant, or a minor third that has not been raised to accommodate harmonic context. Aren't you? The reason an orchestral setting does not bother me is because they are adjusting their pitches, just like the sustained voice adjusting the pitch to fit within the chord. For the most part, it happens automatically with trained musicians. My issue with fixed-pitch instruments are not geared towards the performer, but the instrument, which is completely incapable of doing such and must rely on the ear to retroactively adjust the pitches accordingly. I view this as an issue in which I have no solution. It bothers me, and maybe I'm the only one, but I strongly feel there is a direction that can be taken to improve this dilemma. Jeremy:

Please see my response to Evan regarding instrument tendencies. Also, it seems you have supported my point by saying that choirs intuitively adjust their pitch to be in tune according to the harmony, so why would that not be expected of a flute player? Well, it is, and good ensembles know this, which is why I have little issue with good ensembles that are aware of harmonic shifts within their rep and place pitches accordingly. If a melodic line is projecting a certain harmony, then it is also important that each pitch be placed accordingly on a melodic level. If the harmonies switch every chord, however, the factor that determines pitch placement is purely harmonic, and not melodic.

As far as my ear goes, I am aware when I hear a minor seventh that has not been placed low enough in a dominant, or a minor third that has not been raised to accommodate harmonic context. Aren’t you? The reason an orchestral setting does not bother me is because they are adjusting their pitches, just like the sustained voice adjusting the pitch to fit within the chord. For the most part, it happens automatically with trained musicians. My issue with fixed-pitch instruments are not geared towards the performer, but the instrument, which is completely incapable of doing such and must rely on the ear to retroactively adjust the pitches accordingly. I view this as an issue in which I have no solution. It bothers me, and maybe I’m the only one, but I strongly feel there is a direction that can be taken to improve this dilemma.

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