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 Post subject: Riflessioni sulle ocarine multicamera
PostPosted: 29 Aug 2015, 15:52 

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Posts: 142


02 Aug 2012, 14:57



Mi è stato segnalato un movie di Youtube che sottolinea la mancanza di allineamento degli unisoni tra la prima e seconda camera della mia ocarina quadrupla-P, questo mi ha spinto a dare una spiegazione al fenomeno che, di fatto induce ad escludere i bicordi di unisono nelle multicamere, in favore di altri bicordi più utili.
Le ocarine multicamere non sono tastiere di pianoforte allineate una accanto all'altra, ma sono soggette alle leggi fisiche di un flauto globulare, con i suoi pro e contro dovuti alla loro natura fisica.
Leggi che ne fanno comunque uno strumento magnifico e promettente uno sviluppo futuro dell'Ocarina, in particolare nel repertorio solistico professionale.

Nel link sottostante ho pubblicato recenti riflessioni relative alle problematiche di intonazione legate alle ocarine multicamera-P ed alla loro prerogativa bicordale.

 Post subject: Re: Riflessioni sulle ocarine multicamera
PostPosted: 09 Sep 2015, 13:00 




Posts: 242


03 Aug 2012, 20:26


Edinburgh, Scotland



For the kind of folk music I play, it would sometimes be useful to be able to get a drone effect like what fiddlers do when they touch an open string below or above the melody string:

Unisons do sometimes happen in those styles; more often as a starting point than as a resolution, so maybe it isn't important that they be accurately in tune. But you just about never get both upper and lower notes moving, and the drone needs to stay on pitch as the melody moves. The constraints are not quite the same as the ones you are trying to meet. I've found it quite hard to do that sort of thing convincingly on a doppia-P, though I can get quite near it.

In practice subvocalization is generally a better way to get the same musical effect when you're trying to do folk fiddle on a flute-family instrument.

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