Flutemakers were left to copy existing instruments and make the occasional tweak. Böhm’s understanding of “scales” must have been extraordinary, but the knowledge largely died with him. Notice the absolute regularity of tonehole size and placement. This is Böhm’s direct response to the Nicholson instrument. Figure 1D shows an 1832 Böhm model flute as made by Rudall & Rose. The larger holes of our modern flute absolutely require an accurate “scale.” The photo’s figure 1C shows a Nicholson model flute, with the usual placement and wildly enlarged finger holes. Remember this principle, as there will be a quiz later. Makers sometimes also undercut the tonehole, making it larger and raising the pitch without changing what you see on the outside. A larger hole raises the pitch and a smaller hole lowers it. With the finger position decided on, tuning could be dealt with by changing the size of the holes. While flutemakers were not concerned with mathematical abstractions, they were not ignorant. Figures 1A and 1B in the photo above show two one-key flutes pitched at A=427 and 442, with nearly identical hole placement. Top to bottom: Figures 1A, 1B, 1C, and 1D.īefore Theobald Böhm, the concept of “scale” was lost on flutists.
Online slots canada Holes, the crux of the matter. Because we move our lips, intonation is a moving target. Stringed instruments are well behaved and follow this rule closely. Multiplying by 1.06 (or 1.0594630948 or 12,-2.) increases the overall length proportionately to eventually reach the octave - exactly. In equal temperament, these follow a simple mathematical formula.
“Scale,” for our purposes, means a set of proportions that can be seen in the different placement of frets on a guitar fingerboard and the curve of a rank of organ pipes or piano strings. But throughout much of the 20th century, a gang of mostly British flutist-technicians (along with myself as a token American), searched for ways to improve the tuning (and with it the sound quality) of the modern flute.įollowing the death in 2011 of the group’s key member, Albert Cooper, the man whose name will be forever linked with the flutemaker’s Holy Grail - the Cooper Scale - there has come a renewed interest in explaining, disseminating, and perfecting the details of this approach, so that future flutists can continue the work that Cooper and his friends began. The crucial concept of “scale” in the lives of flutists began, more or less, with Theobald Böhm - and, sadly, its technical understanding largely ended with his death in 1881.
What’s in a scale? More to the point, what’s in “the Cooper scale”? This short primer on scale - and why every flutist needs to understand its importance - includes a heartfelt appeal for the open information-sharing that defined the character of the late Albert Cooper.
0 kommentar(er)
