There are smaller things of endless amounts in the alps and everywhere else worth making a little composition about. Some people, like Mahler for example, are born with Grössenwahnsinn (engl. megalomania), and see only the big picture. Of course there is nothing wrong with Mahler's music, also there are still so many beautiful things left to be composed in C major.

Did you ever listen to the music of Marie-Joseph-Alexandre-Deodat de Severac (1872-1921), a composer who worked all his lifetime as a school teacher and is one of the very few composers the music I really love, respectively play or listen to from time to time.

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@Angelo Clematide said:

There are smaller things of endless amounts in the alps and everywhere else worth making a little composition about. Some people, like Mahler for example, are born with Grössenwahnsinn (engl. megalomania), and see only the big picture. Of course there is nothing wrong with Mahler's music, also there are still so many beautiful things left to be composed in C major.

Did you ever listen to the music of Marie-Joseph-Alexandre-Deodat de Severac (1872-1921), a composer who worked all his lifetime as a school teacher and is one of the very few composers i really admire, respectively play or listen to from time to time.

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Angelo,
I've not had the opportunity to listen to De Severac's work, so i'll go looking. Thanks for the tip.

And your quote of '.....there are still so many beautiful things left to be composed in C major', runs to the heart of my personal philosophy about the 'life' left in what some would call 'finished genres.'
I profoundly agree with you.

Regards,

Alex.

Hay Igrohn
Are you still pissed off at the string quartet samples only, or have you forgave and moved on to the biggies. You were mentioning the C# and D flat aquisition earlier. If you use logic I can walk you on how to achieve these articulation. Or are you still pissed off completely on the string quartets obligatories. you hold a mean fort. Are you a viking ? I'm a munshkin.

@R.K. said:

You were mentioning the C# and D flat aquisition earlier. If you use logic I can walk you on how to achieve these articulation. .

How? And those are not any articulations. Those are facts when playing strings only.

Igrohn - has anyone ever told you you're a genius?

Reminds me of this:

http://www.soundsonline-forums.com/showthread.php?t=2242&page=4&highlight=string+quartet

At that moment they also cancelled my writing rights on that forum. If you can find the reason, please tell me ...

If its not articulation then what exagtacly is it ?

And i'm sorry for you about the other forum cancelation, But people do not tolerate geniuses, nowaday's. Especialy if they're in numerous fields. Please try to tolerate the music field for a second or two. I wrote a slide up in a violin, last night just for you. To see if thats what you're talking about. If its not it, please explain !


http://web.mac.com/robsnob/iWeb/Site/Welcome.html

@R.K. said:

If its not articulation then what exagtacly is it ?

Using differently tuned scales isn't any articulation, isn't it? And as far I know one can't change those in the flight during the piece?!

The solo strings have major and minor scales in the performance instruments ARTICULATION instruments. Don't tell me those arn't articulation scales, mister!!

@R.K. said:

The solo strings have major and minor scales in the performance instruments ARTICULATION instruments. Don't tell me those arn't articulation scales, mister!!

Major and minor scales don't have much to do with tunings I am writing about...

http://violinmasterclass.com/intonation_qt.php?video=int_mc3&sctn=Master%20Class

Ok Now I see what you're taliking about temperment. From what i'm getting out of samples are pefect tuning and its a blast to play something thats perfectly in tune alway's. Piano tuners have their own way of tuning, some tune perfect fifth's, some tune prfect fourth's, some care about the thirds as they go up, some don't. I found out that if tuners don't use a tuner machine, then their almost alway's off temperment, but nevertheless can still be in tune. I use an acu tuner for that reason.
I cannot depend on somones ear anymore. Supposedly piano US tune at 440 and europe at 880. That was an old temperment, I don't think europe tunes at 880 any more. But Real players unless they're from LSO or VSO or NYSO or others, they are gonna play slightly out of tune from here to there. Thats why these samples are a blast. I've gotten so spoiled by hearing perfect tuning, I can hear real strings immediately because of their out of tuning. Only the very best stay completely in tune. Isacc stearn could be heard from his slightly out of tune playing. He was an exception. And the only one.

Igrohn
You'l have to excuse me. I'm going to bed right now, been up al-night. I'm an old fart, If I don't go to bed right now I'll get sick. Will pick it back up when I get up again. Please don't hurt anyone, thanks.

@R.K. said:

Supposedly piano US tune at 440 and europe at 880. That was an old temperment, I don't think europe tunes at 880 any more.

[[:|]] No, that's right. We don't play an octave higher anymore... [:D]

480 is it ?
They dont call you mathis for nothing. Somebody is doing the math.

Well, basic tuning history is that it went up and not down. Although there might be idiosynchracies I'm not aware of. 480 would be veeerrrryyyy high, still.

Today's early music interpreters tune their historic instruments to 415hz, which is pretty exactly a semitone down 440hz.
Then there are all kinds of tunings inbetween, I think most prominent around 430hz.

As far as I'm aware most orchestra today tune higher than 440hz. If I rember right I heard of one orchestra tune to 448hz (that might be where your 8 comes from).
Argentinian Tango is 442hz, because the Banodoneons are tuned to 442hz.

That's all I know about the topic.

I found where the 480 comes from.


Some idea of the variance in pitches can be gained by examining old tuning forks, organ pipes and other sources. For example, an English pitchpipe from 1720 plays the A above middle C at 380 Hz, while the organs played by Johann Sebastian Bach in Hamburg, Leipzig and Weimar were pitched at A = 480 Hz, a difference of around four semitones. In other words, the A produced by the 1720 pitchpipe would have been at the same frequency as the F on one of Bach's organs.

I've always heard that growing up. Now its clear where all these differences came from. Jazz musicians in the 70's used to ponder on going to europe where all these differences were. It had a mistique element.

The european symphony orchestras tune to 442 Hz, and all recording on compact disk are on this pitch too. And of course the Konzertflügel in concert hall use is also tuned to 442 Hz. There are maybe some exception, but I never encoutered one.

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My 1928 "SCHMIDT-FLOHR" (the best pianoforte manufacturer on the planet who went out of business in 1975) is at 436 Hz, but that is because she is old and couldn't hold the tuning up to 442 for more then a few hours, especially since I bang on him like a wild chimpanzee sometimes...

.

Quick Example of VSL solo string Quartet with Ivory Steinway Piano
(by R.K.)

http://web.mac.com/robsnob/iWeb/Site/Welcome.html