Hi, Margarethe! So nice to know that the instrumentalists are also participating in the forum! Very welcome, and looking forward also for the next steps!
One quick question: is your bass 4 or 5 strings (or 4-string with low C-extension)?
Best!
Hello everybody! I managed to register in this forum!
please write me here if you have some questions concerning the percussion.
looking forward to work with you!
merry Christmas to you all
Manu
Hi everybody!
I would like to share some thoughts about the use of different tuning for the cello. The IV string of the cello in the snippet "the beginning" is tuned a minor 3rd down. The IV string tuned a minor 3rd down would have a very buzzy rattling sound. The tension of the string is not enough to give a clear pitch. In addition, it compromises the use of harmonics and multiphonics for this string. It is not only that they will be transposed, but they will probably not sound because of the lack of tension in the string. However, the IV-string tuned a 3 down gives a rattling sound that would be interesting to use. In case, that we are interested in exploring the noisy aspect of a string detuned down, we should make use of it as material and consider if we need it for the whole piece or just for a part. In this case, we should think also about re-tuning time. If we are not interested in the buzzy quality we should reconsider if the IV string should be tuned down or not.
Hi Lula,
this is a good observation - I think that this sound could be very interesting and that a lot of people have been exploring similar kind of grainy/dusky/noisy textures in various parts of their sketches. In my humble opinion, the other 3 strings (G - D - A) along with 5 string on the bass, notably having the same C string an octave lover in double bass, give enough leeway to do all kinds of interesting stuff with harmonics. Furthermore, I didn't see that much of a precise work with harmonics in what has been presented so far, so I am wondering if this is such a 'Hinderniss'. I do agree that DE- and RE-tuning during the piece is not an option - it takes too much time, visually it looks weird for the audience and the resulting pitch is never just in intonation. What do others think?
I agree with the remarks of @lula-romero and @davorius -- I think it is high time that we fix the "instrumental" aspects of the composition. This includes the composition set, which has also raised questions recently. I think exploration was important, but if we continue to produce without setting clearly our material, practical components, we will either end up with a huge and unpracticable set or playing situations, or have to throw away a lot of what we compose in the end, for not fitting in the practical possibilities -- and I do not think our timeframe affords us the luxury of this option.
By the way, if all others agree with tuned-down IV or V string, I'm in! But I also think this should remain fixed throughout the piece.
Best!
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