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Subject: Re: orchestration and tuning (diapason)
From: Lloyd William Hanson <[log in to unmask]>
Reply-To:Lloyd William Hanson <[log in to unmask]>
Date:Wed, 21 Jun 2017 02:39:46 +0000
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Musical pitch is a relational experience. One pitch or another pitch as a relationship to other piiches so that if you lower your basic bitch you have a slightly different relationship if you rated you have another relationship. It is not The process of absolutes. In my many years of teaching voice I have never found a voice that has an absolute top Pitch beyond which cannot sing. With the proper vocalization know I have had many singers sing as high as a minor third above what they consider their absolute highest note. However this is meaningless because the singer is only able to sing that upper Pitch that feels comfortable to them. It is the relationship of the highest note you know in the aria
 as it relates to the other notes in the aria that would give us that higher note the dramatic impulse that is desired. All of this is a relationship between that which has gone before and that Which is following. The soprano is wearing a shade of red or is it a shade of rose. Who cares! It is a different color from the rest of the cast. Her voice is a different color from the rest of the cast. Her dramatic motions are different from the rest of the cast. Her impulse to inform me of her dramatic intent is different from the rest of the cast. Why the intent of did she or did she not sing a true high "C" when the very essence of that high "C" is only relational to The Pitch center that the orchestra has chosen to use. As in all theatrical performances it is the relationship of all the products of dramatic intensity and how they entwine with each other that gives meaning to the dramatic effect.
A theatrical performance is a relationship experience, it is not to be concerned with absolutes or records of achievement. You theatrical. Theater does not promote winners or losers it promotes concepts and thoughts. Nobody seriously considers winners of theater awards as proof that they have risen to the height of their profession, it was all a bump on the way! I 
Sent from my iPhone

> On Jun 20, 2017, at 2:40 PM, Takis Pavl. <[log in to unmask]> wrote:
> 
> http://www.schillerinstitute.org/music/rev_tuning_hist.html
> 
> there is a lot of literature and research on this Les, the above link, while not complete, gives a simple description of the problem and why the 440 tuning isn't right. Happy reading! 
> There is also another long discussion about temperament and how equal temperament is wrong but that's even more complicated so tuning is easier to start with.    
> Historically informed performance practice has "corrected" the tuning in Early Music. This is gradually also happening in works by classical and romantic composers. Note that Bartoli's recent Norma is at lower pitch than we're used to, the historically informed A-430. I suspect in a few years it will be a good selling point to record all Verdi works again. 
> Cappuccilli once demonstrated brilliantly on video why even these small tuning changes affect a voice and why a lower tuning is required. But who cares, the group is more interested in counting high Cs, high Eflats, triple Axel jumps and anything else that's high and bright. 
> 
> Takis
>   
> 
> 
>      From: Les Mitnick <[log in to unmask]>
> To: [log in to unmask] 
> Sent: Tuesday, 20 June 2017, 18:06
> Subject: orchestration and tuning (diapason)
> 
> I have some questions that can only be answered by our Opera L experts (and I know we 
> have many).  With all this talk about high Cs, and how many operas have them and how 
> many don't, it dawned on me this morning something that I believe has been brought up 
> before.  Is a high C TODAY identical in pitch to what a high C was, say, during the age of 
> Bellini, Donizetti, and Rossini???  I don't think it is.  If the tuning or the diapason was lower 
> in those days, would not a top B TODAY have been a top C during the age of bel canto?????
>     We all know that there are neglected pianos that have gone without tuning for years.
> Of course they sound terrible, but they also can be as much as a whole step flat. So with 
> the orchestra ------ and I'm always reading about how orchestras are now tuning much 
> higher (especially in Vienna).
>     The climatic top C in "O Patria Mia" is a case in point. Verdi has written the C, but might 
> that C TODAY only be a top B?????  I'm able to read music, and I play the piano, but do not 
> perfect pitch ------ only approximate.  
>     Would a top C TODAY have been a top D in the age of bel canto????  I'm sure some of 
> you know what I mean, and I'm not sure I'm being clear enough, but if anyone can enlighten 
> me on this, I'd be grateful.  It's been puzzling me for a while.  Renata Tebaldi often 
> expressed these concerns, and given the problems she had with high Cs throughout most of 
> her career, she probably felt justified, which she may have been.  
>     Is the raising of the diapason a possible explanation for this trepidation about exposed 
> top Cs?????
> 
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