Re: The Magic Flute Formula

From: Nelson Zink (zink@newmex.com)
Date: Wed Jun 18 2003 - 10:48:36 PDT


Karl ,

> I've always assumed that a nominal shakuhachi size such as "1.8"
> in modern times refers to a pitch (D) rather than a precise length, since
> the pitch would be influenced by both bore size and length; volume, as you
> say. Right?

Right. But particularly with the D/545 it doesn't seem like you find many
flutes varying much from 545. I may have it wrong but makers seem a little
wary of producing a D flute in lengths of say, 535 or 555. Other notes
seem a little more flexible.

Look at it from the maker's point of view. You've come in possession of a
fine piece of bamboo. What do you do first, cut to a length or work on the
bore? For the most part, bore is accommodated to length rather than the
other way around. And if this is so what length do you cut at? There may be
some fine tune cutting near the end of the process, but general length is
laid out early on.

In PVC, a D flute is usually around 520 and that's because bore size is set
and usually remains untouched. So with PVC the process is backward from
bamboo. Bore is finished when you get a length of pipe and you just cut to
tune to a note. In PVC, length is accommodated to bore.

In bamboo, all D flutes around 545 sound pretty much alike. To get a
substantially different sound (timbre) the length must be shifted
substantially from 545.

So we've got three things going on: pitch, length and bore. Let's set
(decide on) pitch first. Then which is second, length or bore? Because
whichever is third is going to match the first two. With bamboo we pick D,
then cut to 545, then work the bore until the pitch is right. With PVC we
pick D, the bore is set as the pipe comes and we work the length until the
pitch is right.

Things before the arrival of note compulsion would have been more
interesting because lengths were just cut to shaku tenths and the bores
fiddled with until balance and timbre suited the maker. So we would have had
much greater variety in timbre and greater opportunity for interesting
flutes. Ahhh, the old days. When all else fails, romanticize the old days.

Nelson



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