I suppose you could push the mouthpiece much farther onto the cork to accomplish the task as far as the interior geometry of the mouthpiece would allow. I don't know what effect(s) this might add to the mix. In addition an expanded tapered neck would produce a "missing cone" with a smaller volume to replicate with the mouthpiece. Stacking crescents into the tone holes thicker as you go lower would be a nightmare because the effects of the closed toneholes on those farther down the tube is cumulative. One could conceivably lengthen the neck the correct amount to bring the first open tonehole C# down to pitch, but since the notes closer to the neck opening are affected more than those farther down the tube, the lower notes will get progressively sharper creating octaves that are too narrow. A "high pitch" instrument at A = 457 is 17 hz or about 65 cents sharp. 26 hz and each hz comes out to 3.85 cents. I agree with Altissimo on this one that no matter what you do "the holes will be in the wrong place". If you want a vintage tone, there are enough Martin Handcrafts, Buescher Truetones or Conn New Wonders available in low pitch at reasonable prices. The only instruments you're likely to encounter that will be high pitch will be pre 1939 when international pitch was standardised at A440 and there were enough instruments made before then in the UK and USA at A439 or in France at A435 that fiddling around with a high pitch version would make little sense. Personally, I think high pitch instruments are best avoided - even if you lengthen the crook, the tone holes will be in the wrong place. This lowers the pitch uniformly by the requisite amount (apparently because in effect it narrows the bore and increases 'end correction' under the holes etc) but it makes the instrument tiring to blow and much of the brilliance is lost.īassoon: have the crook lengthened at the narrow end by an inch or more, pull out the joints a little and do the rest with the lip, assisted by flat-sounding reeds." It is a long job however and expensive.Ĭlarinet: a method adopted by theatre clarinettists in the old mixed pitch days, in the lack of a flat pitch instrument, was to hang a length of thick string down inside the bore, having first frayed the end so that it will catch in the mouthpiece socket. Pieces are expertly spliced into the instrument in one or two places and then the whole is retuned. Oboe: the only thing is conversion, an operation in which some repairers have been notably successful. Much can be done with practice and a good ear. "should one for any reason be obliged to use a sharp pitch instrument in a modern orchestra, the following remedies must be resorted to -įlute: pull out the head joint by 3/ of an inch and bring the notes into tune with the embouchure. I just dug out my copy of Baines' 'Woodwind Instruments And Their History'. Concert pitch has varied a bit over the years.
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