Gymglish Users and Visitors Lounge


HELLO PEOPLE - second edition !

Ok, somebody seems to have clicked our topic away, anybody confessing ??


Hi to you all,
As you know the normal way of listening music is to take off the general sound, the harmonies and the rhythm. It may be an catalyst for thoughts outside of music.
But as a "specialist", as Puck says, I am also interested in the explanations of those sounds. We talk about C. Franck´s symphony and you should notice, that the home keys of the cor anglais(Altoboe)in F, the bass clarinet in B flat, the cor in F and the tuba in C are different, but nevertheless the mixed sound is unmistakable. It produces a warmy and earthy sound.
But it also makes a difference,whether you take the french variety of the cor anglais with it´s more sharp sound or the more soft german variety.
By the way the cor anglais in former times was curved and later folded, as you said, Sandy. The name may be decended from this. Other researchers refer to some paintings with playing angels. So it´s an open question.
I am looking forwards, if you will find our new topic and tell me,what your special new ideas about it.
Loves, tuba

57 comments

  • it's really a pity "Hello People" was an institution ;) . It reminds me a record my parents had a few decades ago : Piccolo, Saxo and Company. I cannot make the difference now between instruments but I listen to music every night. Perhaps with so many answers, the topic was too long ? Long live and success to HELLO PEOPLE II
  • Now, this I find interesting! First: why do topics disappear? And then: just this special one with deep thoughts on music which is as rich as live in general! And as a reward a new commentator! Welcome, Sophie and I join your wish: long live to HELLO PEOPLE II.
    It is so interesting how many aspects you can touch regarding music. One very often neglected seems a very basic aspect such as why do instruments sound as they do. I never thought there was a difference between German and French instruments. But it seems so reasonable, as French an German music very often has a very characteristic sound. What would you say, tuba, is this just because oft the instruments or are there other specific factors as well? To me the harmonies sound different, too, and I imagine to find them as well in the famous A-major Sonata for soloist (I know a version for flute and one for violin) and piano by C. Franck. As I said before: Welcome back to all of you!!
    Inspired, puck
  • Whew! What a relief, tuba!


    Ever since you launched your 'hello people' thread, it has been one of my hang-outs. Every time I dropped by this forum I couldn't help but running as a billy-o to the lounge looking for the tuned 'hello people' corner. The 'hello' sounded to me like a seductive vibration of a cello, the 'people' was like picolo notes pepping me up. In spite of my fad for your thread, tuba, you haven't known me so far. It's just that I am one of the so many silent onlookers that were regulars on your discussions. I for one, being gotten a fuddy-duddy, thought I had better leave the floor to youth. Some others silent onlookers feared to be off the mark by talking rubbish. So, your initiative aroused a larger audience than the handful of contributors. You have to know it. It's fair enough!


    But a couple of weeks ago, ... no more 'hello people' left! It had vanished without trace. Had it vanished into thin air as if by magic of a witch's wand, or had it vanished by the fatal bash of a "Basher makes all sad" who bashes to death any opponent? I am inclined to the latter hypothesis.
    We have to keep in mind that music is the prerogative of a one and only person at the Gymglish. There is an intern, named Edward, whose guitar strings are plucked at any time all over the Delavigne premises. He is likely to not stand any rivalry. I believe that Basher vented a wrath against the rival. So he killed the "hello people".


    Fortunately, tuba, you rose from death with a second life ahead. Blessed you are! Blessed we are! We hope your partners will rise too. As Puck did yet, I wish a long life to your second trip on this lounge.
    Keep up the good educational task. But be careful. Be on guard. Beware of the basher!
    ___________________________________________


    As I have departed yet from my intent to remain silent, I'll be so bold as to ask you a question.
    When playing a piece in D minor, I guess the tuba with a home key in C has to use one of the C keys to transpose his score? The same for cor, cor anglais and clarinet.
    Thanks in advance for validating or invalidating my guess.


    [CW]
  • Hi pets. Here I am.


    When the "hello people" thread suddenly disappeared, I was upset. There was a cause for concern. I thought a faulty switch had happened in the electronic robot. I didn't fantasize as much as Gee, the so-called newcomer (who is not really, according to what he says). Though, as right wing French "spooks" are likely to have played a dirty trick on DSK, wouldn't Edward's secret services have played a dirty trick on our loved "hello people"? That's not so much farfetched.


    Now let's move to more serious matters. I assume Gee is waiting for an answer to his guess. Off the top of my head I'd say that he didn't make a good guess.
    Imagine, Gee, two trumpets side by side in an orchestra, playing exactly the same score. One of the trumpets has been built with a home key in B-flat and the second trumpet is pitched in C. They give the same sounds commanded by the score. At least conductor, co-players and listeners hope so. What make them out is the action applied on the instruments, i.e. fingers on valves and lips on embouchure.


    There are 4 keys of C used to transpose a work some tones or half-tones higher or lower. By hanging on a Key of C to one the four lowest bars of the stave, the transposed reading gets easy.


    All that is what I can say off the cuff. Be it as it may, to stick closer to your question, let's come on to that instruments that are said to play into a certain key. Most clarinets in the home-key of B-flat for instance are said 'transposing instruments'. It is that a scale ("gamme" in French) written in C major on the score sheet is to sound as a B flat major scale when normally played on the clarinet. Such instruments are used to apply tranposing C keys.


    Don't worry, Gee. We can expect our master tuba is about to put things right.


    In the end I want to sing in chorus with Sophie, puck, Gee while keeping mum with all the "silent onlookers" :
    Long life to HPII in a "land of the free".
    ♪♫♪ ♪♫♪ ♪♫♪
    Sandy
  • Hi all,


    Just a brief interruption to say that the 'hello people' thread hasn't disappeared - it's just that new topics have arrived, so it's been pushed over to page 2 of this forum! You can get it back on page 1 by entering a new post, or just continue your discussion here!


    All the best,
    Helen
  • First of all I have to tell Sandy that I don't guess any more. But I'm still puzzled. Anyhow Sandy has to be thanked.


    When tuba said on May 12: "We talk about C. Franck´s symphony and you should notice, that the home keys of the cor anglais(Altoboe)in F, the bass clarinet in B flat, the cor in F and the tuba in C are different, but nevertheless the mixed sound is unmistakable. It produces a warmy and earthy sound."
    I think the colour of the sound is at stake, say, the timber or tone. I knew that the timber or colour of the sound mainly depended on the resonators, say, stuff and shape of the instrument body - of the human body for human voice. Now then I wonder whether the home key of an instrument, the home key in itself, acts upon its colour (timber, tone).


    Before leaving:
    So "it" hadn't got the sack. What much is sure is that we live in a 'land of the free' and, as the anthem is going, in a 'land of the brave', our brave being a holding out tuba.
  • Welcome to our newcomers Sophie Moa and Gee and all the other, particularly the silent onlookers!
    First at all I would like to answer about two subjects:
    1. about some differences between French and German music
    2. about the two independant aspects of the timbre of instruments and the notation of an instrumental part.


    ad 1: puck´s hints gave the direction: First you should notice there are some differences in the construction of French and German instruments and so the sounds are different. It concerns oboe, bassoon, clarinet, Cello and other ones.
    The more important aspect may be the difference in the cultural development of both countries. So the French music in the 19th century is more programmatic (Berlioz, Saint-Saens, Debussy...), while some German composers (Schumann, Brahms..) prefer the more absolute music, without concrete thoughts to things outside of music.


    ad 2: In answering to Gee´s and Sandy´s comment:
    You should notice on the one hand the natural home Key (in german: Grundtonart) of wind instruments. The timbre or sound is cased by the home key.
    We distingiush the C-home key for flute, oboe, and bassoon , further the B-home key for clarinet,trumpet,trombone and tuba and finally the F-home key for cor and alto recorder.etc.
    On the other hand we look at the notation of a part and distinguish:
    a. A tone sounds as written. Then you get a C part.
    So the trombone plays in a C part,though it´s home key is in B!! So tuba.
    b. Sound and notation differ. Then you get a B part (clarinet, trumpet) or a F part (cor, cor anglais) or a E flat part (alto sax)


    Some things would be more easy, if I were able to insert a sheet of music in our topic. Sandy, would you so kind to tell me how to manage this problem?
    Loves to you all, tuba
  • Nice to read you again, tuba.
    You information has been duly noted.
    A music score sheet would make things easier indeed. But trying and jotting down some quavers is just easy-peasy.
    To get an audio would be the best. But fair dos! It's better so than a mere nothing.
    Sandy
  • Hi tuba, Sandy, Gee, Sophie and as tuba said: silent onlookers (please feel free to „meddle“, I’m sure it would be an enrichment!!)
    Thanks tuba, it seems that you made the different implications of home key and notation and sound quite clear.
    Even more interesting I found your remarks on „cultural differences“ between German and French music. I would agree that programmatic aspects influence the style of the music. But would you say the categories are between German and French musicians? Are there not as well German composers who based their music on poetry, lets say Liszt or Strauss and French who didn’t – the already mentioned C. Franck for example?
    Hoping that our musical thread continues!!
    puck

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