Musicians on pitch | Netherlands Bach Society
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- Опубликовано: 26 сен 2024
- The most frequently asked question on our RUclips channel is about pitch: you remark that our text or title mentions the wrong key or ask why we perform pieces a tone too low. Why do recordings on All of Bach often sound a semitone lower (or higher) than when you play this piece at home on the piano, violin or flute? In this background video on pitch, our musicians explain why.
Recorded for the project All of Bach on October 29th 2023 at Akoesticum, Ede. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB and consider donating bit.ly/3J5uprM.
All of Bach is a project of the Netherlands Bach Society, with the aim to perform and record all of Bach's works and share them online with the world for free. Visit our online treasury for more videos and background material on www.bachvereni.... For concert dates and tickets go to www.bachvereni....
Netherlands Bach Society
Siebe Henstra, harpsichord
Robert Vanryne, trumpet
Rodrigo López Paz, oboe
Lucia Swarts, cello
Femke Huizinga, viola
Robert Franenberg, double bass
Thomas Hobbs, tenor
Eduard Bos, tuner
Marloes Biermans, musicologist
![DDG & G Herbo - Nosey [Official Video]](http://i.ytimg.com/vi/I9Ra0Zc2NlQ/mqdefault.jpg)
I could watch this channel all day and never get bored. It’s virtually the Nat Geo of music.
absolutely love to see this sort of "beyond the performance" stuff. can we get an in-depth look from the wonderful recording engineers next? 💖
I am speaking for myself but, I think this every orchestra and musician itself should know... This is brilliant! Thank you Netherlands Bach Society!!!
Amazing video and brief masterclass that make us appreciate your work from a new point of view. Thanks NBS. 🤗
Imagine a person that knows playing piano so well he can accompaign music vids but yet doesn't know about tuning frequency 😮
so probably like 90% of musicians on RUclips
Very few pianists ever tune their instrument, and many know very little of anything outside their little piano bubble.
Only a few interested pianists pay attention to that, but I always thought it to be quite an interesting subject, specially since it's my instrument and why wouldn't I want to know about it 😂, but yes most doesn't
You have no idea how many musicians in the world don't know a thing about tuning.
Thank you, this was fascinating. So good to hear from all the different musicians, and to understand the individual affects, challenges, and joys of different tunings. Wonderful video.
geweldig!
Great discussion!
Dankjewel. Dit verklaart waarom een stuk gespeeld door een ander gezelschap soms heel ‘anders’ klinkt.
Complex & fascinerend! Heel bijzonder eigenlijk!
Thanks so much for this - and thanks especially because I now know the name of Lucia Swarts who I have seen so often in these videos
Great info, I didn't realize pitch affected timbre so much.
At the end I spotted the theorbo. Changing pitch must be quite a nightmare with this instrument!
I think tuning theorbo or lute is anyway quite a challenge 😅
@@Shygrief Still a lot fewer strings than a harpsichord
Under a lute video I once read "lute players spend half their life tuning and the other half they play out of tune". Esp. with gut strings.
@@lemonyphresh i saw a lutenist snap his highest string in concert and he spent the next piece tuning it up between phrases. it was very impressive.
Fantastic discussion, thank you!
One complaint: the final clip, of Femke Huizinga, has no captions. 😬
Ah, that quote has been forgotten. Translation should have been: "It's like putting on blue glasses or glasses of a different color." Also now added in the captions on RUclips itself.
@@bach Thanks!
I like to have my instrument tuned on 415 hz as the sound is softer, warmer und more gentle (mandolin)
Very insightful
Thank you for recording this! I love baroque oboe sound, hope to get one eventually with A 415Hz and learn how to play ❤
Thank you for this interesting video. A couple of things. The word “tuning” is used a lot here to mean “diapason” or pitch-standard; that is confusing as tuning can also refer to the temperament chosen (or aimed for) by the players. Also temperature (and to a slight extent other meteorological factors) can affect the pitch of instruments in different ways. When we say Bach’s ChorTon in Leipzig (ie the pitch of the organ) was A465 (orA466) is that at 20ºC? Shouldn’t the Cantatas written for winter Sundays and Feasts be performed at a higher pitch and Cantatas written for summer Sundays and Feasts be performed at a lower temperature if we want to play how Bach would have expected the music to sound? The pitch of organ pipes changes by 3 cents per degree Celsius so if the church was at 0ºC on Christmas Day and at 20ºC on Trinity Sunday that would mean the pitch of the organ would change by 60 cents (over half a semitone).
📍7:47
Fijn deze uitleg! Waardering voor deze muziek en de musici!
Hi,
I have watched this documentary and I really found it very interesting.
But I have a question: when you play a piece in low tuning, how do you decide whether to play it a semitone or a tone lower?
I am still a bit confused, especially thinking about your recordings of the Six Sonatas and Partitas for solo violin and the Six Sonatas for violin and harpsichord, for example.
Concerning the Sonatas and Partitas, I noticed that only Sonata no. 3 and one version of Partita no. 2 were recorded one semitone lower, while the others were recorded a whole tone lower; it particularly surprised me that the two recordings of Partita no. 2 were made in different tunings.
I noticed a similar thing for the other sonatas: you recorded the first, second, fifth and sixth sonata a semitone lower and only the third a tone lower.
And also for the Brandenburg Concertos, as only the two G major concertos, no. 3 and no. 4, were recorded one semitone lower, while the others were played one tone lower.
I thought they were part of the same “series”, so composed in the same period and place and therefore to be performed the same way. For this reason I would like to ask you this: are there any other reasons to take into account when making this choice, beside historical context and instrumentation? Are there sources that suggest intentions or even report precise indications by Bach about this, or maybe was it, as you explain in the documentary, somehow related to the timbre, or the tonality that eventually results to our ears (although actually this doesn’t seem to explain the reason for having the two recordings of Partita no. 2 played differently)?
Thank you very, very much again and best wishes to all of you!
Kind regards,
Martina
Lucia tequiero
:)❤
Rodrigo López Paz, ¿de donde eres?
Saludos y felicitaciones desde la Ciudad de México 🌿🪇
Es cubano
The issue of pitch differences has always fascinated me. It becomes very clear when you start to look for it. 432 is rounder, "dirtier", warmer; 440 is clearer but cold to my ear. Then there are all these theories that say 440 is designed to put you on edge and its use was mandated by a certain Reich... I don't know.
There are modern songs recorded at 432, and some RUclips videos showing the comparison. It's fantastic to hear.
As always, thank you NBS!
This has long fascinated me as well. To be honest, I had mostly discounted the 432 Hz movement, despite having experimented with it for some time on my instruments... Certainly I don't think that 440 Hz is evil, and the claims of that certain Reich's involvement are dubious... But it turns out, much to my surprise, that there have been a few scientific studies done which suggest listening to music at 432 Hz does seem to confer greater health benefits over 440 Hz, though sample sizes were small and more research is required.
The frequency of A whether it is 440, 392, or 415 doesn’t matter. Back in the time of Bach for example pitches varied from town to town because the organ pipes would have been built in varying lengths in different locations. There’s no conspiracy. The thing that changes the feeling of music is the temperament that is chosen. A modern piano is tuned in equal temperament which means that all the pitches within the octave key are slightly out of tune to give the ability to play in all twelve keys. Each semitone is equal, hence the name equal temperament. In the time of Bach and before people tuned their harpsichords and clavichords in different tunings, so that certain keys were in tune. For example if the performer was going to perform a large suite in a certain key, they would choose tune their instrument a certain way that would allow the key, let’s say E Maj, to have its intervals like 3rds and 5ths more in tune, without destroying the relationship that the other intervals have within that key. A normal guitar is another instrument that will never be in tune because of the way that the fretboard is made. The fretboard is determining how the intervals will be tuned. all you can do is tune the strings, you can’t tune the frets. That’s why there are microtonal guitars made with moveable frets. The differences some of these musicians are noticing between A’ pitches is because their instruments have been built with a certain pitch in mind, so its body is made to be tuned at a certain pitch, and different pitches make their instruments resonate differently. Look up different temperaments. Like equal temperament versus just intonation verses well temperaments versus mean tone etcetera. I don’t know what you’re feeling but this whole 432 universal frequency thing is just ridiculous and cultivates ignorance with how tuning works. People fill it with all sorts of cultural agendas and use it as ammo for their side of this cultural war that some people seem to be invested in.
@@will.sagastume thank you! I will further my investigation. Problem is I'm not a musician (not professional, anyway), so some concepts are hard to grasp.
that's probably the stupidest theory I've ever heard
When you don't like something, accuse the Germans ! Some guy had a strange theory : according to him, Bach never invented anything, Couperin and Scarlatti were far more important and if we all revere JSB, it's because of a very efficient German propaganda between the two world wars.
As a pro drummer, I played a lot of Bach on marimba but never played a note written by the other two composers. So I remained speechless. I wonder why some people feel the need to go against the vast majority of musicians and musicologists, like flat-earthers go against all the scientists and million workers of space agencies on the planet !
I laughed out loud at some of the comments that made baseless conspiracy theories about 440hz.😈
Since when can bots laugh?
This language is so much like German… but not! I keep trying to understand it with no,luck at all.
440 Hz is niet in tune met biologische frequenties ... dus moderne tuning is net een beetje offset ... en dus dissonant
False
@@violintegral als je iets zegt, mag je gerust uw argumenten erbij geven 😉
@@antonclijsters7021 Je bent toch echt zelf degene die met een pseudowetenschappelijke en ongefundeerde claim komt, met je 'biologische frequenties'
That sounds like total nonsense to me. We now measure pitch/frequency in cycles per second or Hertz. The second, as a unit of time, isn’t found in biology.
@@michaelhaslam6089 that's why 440 Hz is also totally arbitrary.... and in the past other tuning references were used that had a better resonance with the Human being
🙌🏻❤️🇨🇴