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 Post subject: Giorgio Pacchioni Ocarinas
PostPosted: 21 Aug 2012, 11:42 

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Ciao a tutti, i miei lavori sono qui:
http://www.giorgiopacchioni.com/ocarinanuova/

Giorgio


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 21 Aug 2012, 11:58 

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I would say that multi-chambered ocarinas by Giorgio Pacchioni are my favourite ocarinas, especially those with the new P-fingering. Here are some from my collection:

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There are many benefits of the P-fingering, two most important being overlapping notes between chambers and great intonation.


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 21 Aug 2012, 12:35 

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Those are some beautiful ocarinas Krešimir :)

I adore the Pacchioni ocarinas i have in my collection, and i enjoy playing them all very much. I agree, P-fingering is extremely useful, i am very happy with my QuadruplaP C3 ^^

Image


My ocarinas are for sale on eBay

More of my work can be found at http://www.facebook.com/EverettOcarinas


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 21 Aug 2012, 14:52 

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and this is my P-collection. :D
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and you see the signature ;)
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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 21 Aug 2012, 18:18 

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My Pacchioni triple is one of my favorite ocarinas.


I prefer my ocarinas to be toothless.


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 26 Aug 2012, 12:00 

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I haven't tried playing the quadruple ocarina yet, but I play the triple with the same fingering system almost every day - it is in every way identical to the quadruple, except it doesn't have a fourth chamber so it plays only to high D (with thumb hole on the third chamber) instead of to high F. While having these 3 extra notes is useful, I am not an advanced ocarina player and most of the music that requires these high notes is too difficult for me anyway.

I would love to have a quadruple ocarina G4, if it is possible to make such a thing in reasonable dimensions.


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 26 Aug 2012, 12:19 

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The overlapping fingerings between chambers makes a lot of sense. Nothing worse than having to switch chambers for just one note in a rapid passage.


"To live at all is miracle enough"
~Mervyn Peake


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 26 Aug 2012, 12:37 

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FortyTwoBlades wrote:
The overlapping fingerings between chambers makes a lot of sense. Nothing worse than having to switch chambers for just one note in a rapid passage.

Indeed! It makes so much sense and is so amazingly simple and logical that I am very surprised nobody thought of it before. But that is often the case with the greatest inventions. When you play an ocarina with Pacchioni fingering for some time, you'll probably realise it is the only logical way to have a multi-chambered ocarina - I almost never play the ocarinas with Vicinelli fingering, anymore, except in some very specific and rare situations.


From my experience (which is quite limited, keep in mind), an oriental triple ocarina needs on average, about twice as many chamber switches than Pacchioni's Tripla-P* ocarina. In some cases, where melody is played mostly on the second chamber of the Pacchioni triple, on oriental ocarina there can be over ten times as many chamber switches!


Here is an example of a melody (from Bach's Italian Concerto, BWV 971, transposed to C major - I picked it at random from my collection of ocarina arrangements) with marked places where chambers are switched:


Attachment:
CSFA_1.gif

Notice that on an oriental triple you have to switch chamber exactly 15 times to play that melody. Even worse, places where you have to switch chamber are fixed, there is no way around them - even if for only one note, even if in the middle of a pharse, even if you have to move four fingers at once. On Tripla-P*, in this example, there are minimally 7 chamber switches (or more, if you prefer). For most of them, the musician can choose the most logical and convenient place. Also, very rarely (almost never) is it necessary to move more than 2 fingers of the right hand when switching chambers.


Why is there such a great difference? Because on a Tripla-P, the second chamber is completely covered by the first and the third chamber. The first chamber goes to E, the second starts at C (but can play B, too) and goes to G and the third starts at F (but can play E, too) and goes to D. That means, there is even 1 note overlap between the first and the third chamber - you don't have to use the second chamber at all to play the full chromatic scale of the instrument's range (of course, that would be silly).


But the ease of chamber switching is only one part of why Pacchioni fingering is vastly superior to Vicinelli fingering. The other reason is intonation. Almost any oriental ocarina will have some notes of the second and third chamber out of tune, requiring breath adjustment - a well-tuned ocarina with Pacchioni fingering will not need any compromises in intonation.


Now, I mentioned that on an ocarina with Pacchioni fingering chamber switches are about two times less frequent, compared to an oriental triple, according to my estimate, and in some cases more than 10 times less frequent (for an extreme example, imagine a melody that has notes E, D, E, D, E, D... :) )... There are, however, some situations where frequency of chamber switches is about equal. This happens very rarely and only if the melody frequently contains very large interval leaps, over sixth - some melodies may be slightly easier to play on an ocarina with Vicinelli fingering, but the opposite is much often the case.


From my experience, I know of hundreds of melodies for which I would choose an ocarina with Pacchioni fingering, and only a handful for which I would choose an ocarina with Vicinelli fingering (at the moment, I cannot think of any, to be completely honest - of course, if the range permits it).



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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 26 Aug 2012, 23:37 

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I have played a piece by Jindrich Feld for recorders many years ago - maybe the same one? If I remember right it had a lot of dynamic contrasts. Can any ocarina do that properly?


http://www.campin.me.uk


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 28 Aug 2012, 20:08 

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I am really growing very fond of P-fingering, moreso than i already was. Everything just seems easier and more fluid when i play now, and chamber balance is superb - the higher notes of my Quadrupla fall in beautifully with the lower notes, i've not really experienced that before!


My ocarinas are for sale on eBay

More of my work can be found at http://www.facebook.com/EverettOcarinas


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 28 Aug 2012, 20:20 

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I wish there was a Like Button here. You folks are doing a very good job of convincing me I must buy a Pacchioni someday. The chamber switching analysis by Kresimir was very informative.


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 29 Aug 2012, 12:21 

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I'm totally agree.
Now I understand the pros of this fingering system.

Thanks Kres.


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 Post subject: Quadrupla Basso in C
PostPosted: 17 Feb 2013, 22:00 

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Finalmente sono riuscito a realizzare la quadrupla BC.
Lo strumento è stato realizzato in argilla rossa comune brasiliana essendo più leggera della Canadese che uso di solito.
Il suo peso è (solo) di Kg.1.060 e risulta maneggevole e utilizzabile senza sforzo alcuno.
A breve pubblicherò qualche brano dimostrativo che ne esalta la tessitura violoncellistica.
Foto di comparazione tra la AC e la nuova BC.
Attachment:
P1010871b.jpg

Sarà presto in vendita nel mio sito nella directory Quadrupla-P basic.

Moderator edit: This topic has been merged with your own constructor topic. ~Bas


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 Post subject: Re: Quadrupla Basso in C
PostPosted: 17 Feb 2013, 22:19 

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Giorgioca wrote:
Finalmente sono riuscito a realizzare la quadrupla BC.

Ah, you did it! It looks great - maybe a little bit scary... :)


It seems small enough to allow fingers of the right hand to reach the first chamber without too much problem. I think this is a perfect ocarina for playing Bach's violoncello suites - looking forward to the recording!


I tried playing the prelude from BWV 1007 on your tripla-V C5 - the beginning is relatively easy, but soon it becomes too difficult for me...



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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 17 Feb 2013, 22:48 

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Krešimir wrote:
Giorgioca wrote:
Finalmente sono riuscito a realizzare la quadrupla BC.

Ah, you did it! It looks great - maybe a little bit scary... :)


It seems small enough to allow fingers of the right hand to reach the first chamber without too much problem. I think this is a perfect ocarina for playing Bach's violoncello suites - looking forward to the recording!


I tried playing the prelude from BWV 1007 on your tripla-V C5, the beginning is easy, but soon it becomes too difficult for me...


Niente paura Kresimir,
la distanza massima tra il bordo della parte interna ed il foro (A-B) è di 8 cm
quella tra una punta e l'altra è 27,5 cm (C-D)

Si, certo le suites di Bach sono il massimo che si possa pensare di fare, lasciami partire col .....minimo possibile, tuttavia, il suo maneggio non è molto diverso da una AC, solo bisogna abituarsi alle misure diverse sia nella mano destra che nel beccuccio con i 4 canali dell'aria.
È molto stimolante fare cose che sfidano la nostra abilità e si addentrano in terreno sconosciuto, mi sto davvero divertendo.
Attachment:
P1010871cm.jpg


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 Post subject: Re: Quadrupla Basso in C
PostPosted: 17 Feb 2013, 22:55 

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Krešimir wrote:

I tried playing the prelude from BWV 1007 on your tripla-V C5 - the beginning is relatively easy, but soon it becomes too difficult for me...


Devi affrontare ogni passo con molta calma e lentezza di battuta, fino a quando diventa possibile, a quel punto lo hai catturato e lo puoi consolidare e successivamente portare ad una battuta più rapida, ma ..... senza fretta. Suonare bene è difficile per tutti e la didattica di apprendimento è l'arte di superare tutte le difficoltà in modo possibile per ogni allievo.


www.giorgiopacchioni.com/ocarinanuova


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 18 Feb 2013, 02:22 

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Quote:
I have played a piece by Jindrich Feld for recorders many years ago - maybe the same one? If I remember right it had a lot of dynamic contrasts. Can any ocarina do that properly?

I was commenting on a (now missing) post in which somebody mentioned playing a piece by Feld for ocarina and piano.

Maybe somebody can restore the missing context so my post makes sense and the Feld piece in question is identified again? (My guess was wrong).

Getting your posts removed from a forum when other folks have discussed them, so as to make their posts look incomprehensible, is a viciously antisocial thing to do and should not be permitted.


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 Post subject: Re: Giorgio Pacchioni Ocarinas
PostPosted: 18 Feb 2013, 02:28 

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Yes, this is not the only instance of this occurring I'm afraid. I'm assuming your post was a reply to Paolo Gavelli, who recently decided to remove all of their posts from this forum. My apologies for the inconvenience.


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