PipeChat Digest #3903 - Monday, August 25, 2003
 
PERECT PITCH
  by "D. Keith Morgan" <aeolian_skinner@yahoo.com>
OrganLive...
  by "Sand Lawn" <glawn@jam.rr.com>
Re: Sydney Town Hall specs--64' in Pedal
  by <OrganMD@aol.com>
Re: Sydney Town Hall specs--64' in Pedal
  by "Mike Gettelman" <mike3247@earthlink.net>
Atlantic City
  by <TRACKELECT@cs.com>
 

(back) Subject: PERECT PITCH From: "D. Keith Morgan" <aeolian_skinner@yahoo.com> Date: Sun, 24 Aug 2003 20:54:33 -0700 (PDT)   I haven't had time to read all the messages on this subject, but I would = like to tell you what I have learned over the last 35 years. I have never heard a satisfactory definition of the term "perfect pitch", = but my understanding is this: Perfect pitch is one's ability to hear a = certain pitch and tell exactly how many vibrations per second it is, and = the name of the note. That is totally impossible. Pitch varies with the slightest change in temperature and humidity. = Assuming that an organ has been tuned to a perfect A=3D440 at 72=BA and = the temperature changes =BD=BA either way, your perfect A=3D440 is gone. = Furthermore, organs go flat as the temperature goes cooler, but pianos go = sharp, and vice versa. What is perfect, anyway? A=3D415, A=3D435, A=3D440, A=3D442, A444? If = anyone actually did have "perfect pitch", they would go crazy if a piece = was played at A=3D444, and their idea of "perfect pitch" was A=3D440. I have a recording of E. Power Biggs playing the St. Anne's Prelude and = Fugue in E-flat Major on the Schnitger organ in Zwolle, and it sounds like = it is being played in F# major, because the organ is pitched almost a = minor third sharp to what we have come to know E-flat to be in A=3D440. I = haven't heard anyone complaining about that. When I was in college, I had many people proudly announce to me that they = had "perfect pitch". In theory class, every single one of them couln't = tell the difference between a third, fourth, or fifth. Several of them = flunked out because they couldn't take dictation. They still insist, = however, that they have "perfect pitch". Over the years, I have had many people tell me that they had "perfect = pitch". The difference between A=3D439 and A=3D440 is so very minute that = it is absolutely impossible for anyone to tell the difference without a = good tuning fork to compare it to. All pitch recognition is relative. Someone recently wrote in that he = thought of a note to tune an orchestral instrument to, and he was dead on = pitch. The only explanation I have is that he had recently heard a piece = played in that key, and remembered that note. In tuning, I know about what an A should sound like, having tuned so much, = but I wouldn't begin to set an A without a good tuning fork. Sometime I'll write about the music teacher who claimed to have "perfect = pitch" The story is absolutely true, and absolutely hilarious. To sum this up, there is no such thing as "perfect pitch". D. Keith Morgan     --------------------------------- Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software  
(back) Subject: OrganLive... From: "Sand Lawn" <glawn@jam.rr.com> Date: Sun, 24 Aug 2003 23:05:47 -0500   Sorry, this is just a message to Brent to say I have been listening to = that first test of OrganLive and it is terrific.. nearly two hours of = great listening at this moment....=20   Thanks,   Sand  
(back) Subject: Re: Sydney Town Hall specs--64' in Pedal From: <OrganMD@aol.com> Date: Mon, 25 Aug 2003 00:12:23 EDT   Hi.........   The new Schoenstein in the LDS Conference Center has pipes in the 64' = octave that go down to g# as memory serves. (a flue and a reed if I am not = mistaken)   Bill    
(back) Subject: Re: Sydney Town Hall specs--64' in Pedal From: "Mike Gettelman" <mike3247@earthlink.net> Date: Mon, 25 Aug 2003 00:42:23 -0400   Gamba and Trombone   OrganMD@aol.com wrote:   > Hi......... The new Schoenstein in the LDS > Conference Center has pipes in the 64' octave that go > down to g# as memory serves. (a flue and a reed if I > am not mistaken) Bill    
(back) Subject: Atlantic City From: <TRACKELECT@cs.com> Date: Mon, 25 Aug 2003 00:54:58 EDT   I worked with Tim Hoag, the Convention Hall Organist, for some time. Of course I found it hard to keep the conversation away from the big Midmer = Losh. Mr. Hoag did a great deal of mechanical work on the organ, being a skilled technician as well as an organist. According to him there was nothing = really special about the windchests of the high pressure stops except for springs to keep = the treble pipes from blowing out of their holes. The leather may have been on =   the heavy side but not unusually so. Remember, the performance of electro pneumatic action increases as pressure goes up. One thing Tim commented on = was wind leakage. In the winter, dryness caused many cracks to open up creating = leaks. In the summer humidity it was quite a bit less leaky and he commented that = the organ sounded louder. I should think that the regulators would be able to compensate for wind leaks and the pressure should not drop in the winter. = I think it's more the case that the organ sounded louder without all that hissing. =   One thing that I found interesting is that much of the damage to the organ = was from water leaking from air conditioner ducts. Apparently the ductwork was =   poorly designed and water condensed inside and leaked on to many of the = chests. Many of these divisions were off limits due to the fact that there was a = great deal of asbestos present. I do need to take a trip down there and see how = they are getting on. It's also been too long since I have heard Tim play his = famous version of Butterflies in the Rain.   Cheers:   Alan B   Alan A. Binger Organbuilder Freehold, NJ