Mimi Ezust <[log in to unmask]>:

>On stringed instruments there is more resonance if the key chosen contains
>open strings.  The most resonant would be key of C FOR Cello, key of D for
>violin.

Why isn't it all the string #-keys for the violin?

>That's why some of the pieces with many sharps and flats do sound different
>in tone color if they are transposed.  Some people describe that sound as
>'darker' and the more resonant sound as 'brighter.'

That is logic, as all notes highs on an instrument, refers to the overtones
which follows the instruments form (construction) which causes overtones
which are different on different highs.  The violin is rather "kind" here,
as the overtones frequency are rather equal shared over the range.  An oboe
or a flute, on the other hand has more frequency of tones in the high
register, while a clarinet has in lower register, what also gives the flute
a 'cold' sound (in middle register) while the clarinet has a 'warm' sound
in the same level - listen to how Lumbye and Strauss uses this effect in
their respective Waltzes....  This is also the reason to why the piano and
the orchestra never rings in tune in pianoconcertos.

>There is also something called 'scordatura' which means 'false tuning'
>...  it is used both in baroque music and in country fiddling, and takes
>advantage of the special qualities of the change of pitch and timbre of
>the string with different tension.

This is an attempt to solve the knot of Pythagoreus "Comma".  It says as
follows:  If you choose a tone on the scale, leyt us say a C.  Then you
go 7 Octaves up, you are on a perfect C again.  Then you cut your string
with original C with 2/3, and you get the quint to C.  You take the highest
note that appeared, and cut out a new quint, and take the highest note
you got now, and cut a new quint, and continue to do so until you have
cut 12 quints.  Now you thought you landed on the C 7 octaves up? Nope!
You landed on a tone that is not a pure C, it is 1/4 tone lower than the
pure C.  This shows that there is an inbuilt element of dissonance in the
system.  This can be solved in different ways, 'scordatura' is one attempt,
Cuclins microtonal scale of 57 notes another, then we have Haba, Busoni, et
al.  No solution seems fair for all....

Mats Norrman
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