Re: Intervals enharmony question

[J Martin Rushton]

On 30/04/18 22:14, Hans Åberg wrote:
> 
>> On 30 Apr 2018, at 22:50, David Kastrup <address@hidden> wrote:
>>
>> Hans Åberg <address@hidden> writes:
>>
>>>> On 30 Apr 2018, at 22:23, Torsten Hämmerle <address@hidden> 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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