On 30/04/18 22:14, Hans Åberg wrote: > >> On 30 Apr 2018, at 22:50, David Kastrup <d...@gnu.org> wrote: >> >> Hans Åberg <haber...@telia.com> writes: >> >>>> On 30 Apr 2018, at 22:23, Torsten Hämmerle <torsten.haemme...@web.de> >>>> wrote: >>>> >>>> Hans Åberg-2 wrote >>>>> I play the flute, and I checked with one of my teachers who sits on one of >>>>> the operas here. >>>> >>>> Hi Hans, >>>> >>>> It's funny that you mention the flute of all instruments. It reminds me of >>>> the old joke >>>> "How do you get two flute players to play in unison?" - - - "Shoot one!" >>>> >>>> No offence meant, I just couldn't resist :) >>> >>> Flutes have a very definite pitch, making it hard to play in unison, >>> unlike strings then. It is mentioned in Blatter's book on >>> orchestration. >> >> I think recorders are quite worse in that respect. > > Recorders cannot adjust the pitch independently of dynamics, but a performer > said he tries to adjust for beats. Incidentally, J.S. Bach wrote for flutes > and not recorders, and at home he had a clavichord, with after key touch > pitch bend. > If you use alternative fingerings on the recorder you can subtly change the pitch, which combined with a breath adjustment in the other way results in a dynamic. For instance G can be lowered by using the ring or little finger of the right hand, then the breath is increased to come back to pitch resulting in a louder note. In the other direction a leaky fingering will raise the pitch, though I must admit I've never mastered that technique without introducing the instability that can lead to a squeal.
For a lot of earlier music it can be difficult to know if "flauto" is a flauto dolce (sweet flute - recorder) or a flauto transvero (sp?). It mainly seems to depend upon the modern speaker, regardless of the ancient composer! ;-)
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