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Horn Tuning

This document provides a summary of tuning two double horns in just intonation. It details: - The valves are tuned to rational proportions of the open horn's length to produce two series of fundamental pitches with wavelengths in ratios of 15:16:17:18:19:20:21:22. - The two horns are tuned a just perfect fourth apart. - It provides the fingerings and corresponding pitch notations for playing the undertone series on each horn.

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lupustar
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0% found this document useful (0 votes)
293 views

Horn Tuning

This document provides a summary of tuning two double horns in just intonation. It details: - The valves are tuned to rational proportions of the open horn's length to produce two series of fundamental pitches with wavelengths in ratios of 15:16:17:18:19:20:21:22. - The two horns are tuned a just perfect fourth apart. - It provides the fingerings and corresponding pitch notations for playing the undertone series on each horn.

Uploaded by

lupustar
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Double Horn in F and Bb / F-Horn : Tuning in Just Intonation

valves 1, 2, 3* (custom-built) are tuned to rational proportions (2/15, 1/15, 4/15) of the respective open horn’s length producing, in various combinations,
two Utonal Series of fundamental pitches with wavelengths in the proportions 15 : 16 : 17 : 18 : 19 : 20 : 21 : 22
with the two horns tuned a just perfect fourth (3:4) apart
notated AT SOUNDING PITCH
* Alternately, the normal 3rd valve may be used, tuned to the proportion 3/15, so that the valve combination 1+2 and 3 are synonymous. using the Extended Helmholtz-Ellis JI Pitch Notation
In this case, the undertone tuning “22” will not be available, and the fingerings indicated for undertones 19 - 22 apply instead to 18 - 21 accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004


+13.7

 j 
+15.6
o    
+13.7
o 
 <f n
kk 
+2.0
 +13.7 o  0o
+65.0 +15.6

  o
+15.6

 4f
+13.7 +13.7 +17.6

( o ) o  o  <f  o  o j
-45.8 -17.5
15 
k -17.5



k

  n
   :o 
+6.9

 u
 n
kk
+2.0

 < u
+3.9


 n  0v
+2.0

  n
+2.0 +2.0 +3.9 +2.0 +5.9 +53.3 +3.9

( n ) n  n
-11.7
 <  n  v  u 4
-57.5 -29.2 -9.8
16 
h -29.2 -11.7

k

  ;u     n  ;u 
kh
+2.0
  ;T
 ;u
+0.9

 ;<u ;T
)
;u  ;0u
+0.9 +48.3

;u  
  ;u  ;T  ;4u ;u

17 
k
( ;u ;u  -1.0 -3.0 -16.7 -1.0 ;<u
-34.2
;u
-3.0
-16.7 -1.0 -62.5 -34.2 -14.7 -3.0


k -3.0 -3.0

  j     / 
+3.0

  :f n
kh
+2.0
  u
  < u n


n  0
+2.0 +49.4

j  
  n  u  4 j

18 
h
( n ) n  -2.0 -15.6
-33.1
< n
-2.0 -15.6
-61.4 -33.1 -13.7 -2.0 -4.4

 

k -2.0 -2.0
\v
  \<
   
+4.4

 \v  n \ó
kk (
+2.0
   \:o \v
+9.4

 Æu  \v
+6.4 +8.4

 \< \ó
+6.4 +4.4 +8.4 +55.8 +6.4

)
+4.4

\v  \v 
\v  Æu  \4v  \v \0v

19 
k
+4.4
\v +4.4
\v  -9.2 -26.7 -9.2 -55.0 -26.7 -7.3 -9.2

 

h
o
 <f  
+17.6 +15.6

  o    /f n
kk
+20.6 +19.6 +13.2 +2.0
   :g o
+15.6

 n  o
+15.6 +2.0

 <f n
+15.6 +15.6 +17.6 +19.6 +2.0 +70.0 +17.6 +3.9

 o  o 
o  n  4o  o 0o

20 
h ( o ) o  -15.5 -43.8 -15.5



h

  j  >
 
+31.2

 
kh
  >v  /> >u
+33.1

  :>o >v
+36.1 +35.1 +28.7 +17.5

 >u  >
+33.1 +31.2 +17.5 +35.1 +17.5 +82.5 +33.1 +19.4 +31.2

 j >u

>v  > 
>v  >u  4>  >v 0>v
21 
k (
+31.2
> )
+31.2
>  -28.3



h

  5<  5
   
kh

 5u  5v
   5  :5o 5v /5 5u
+2.0

 5< 5u
 5v  5 
5v  5u  n  5v 05v
22 
h

h
( 5 ) 5  -47.4
-49.4 -63.0 -47.4 -80.5 -49.4
-45.5 -63.0 -47.4 -108.8 -80.5 -61.1 -49.4 -44.4 -45.5 -51.9 -63.0

-49.4 -49.4
Double Horn in F and Bb / Bb-Horn : Tuning in Just Intonation
valves 1, 2, 3* (custom-built) are tuned to rational proportions (2/15, 1/15, 4/15) of the respective open horn’s length producing, in various combinations,
two Utonal Series of fundamental pitches with wavelengths in the proportions 15 : 16 : 17 : 18 : 19 : 20 : 21 : 22
with the two horns tuned a just perfect fourth (3:4) apart
notated AT SOUNDING PITCH
* Alternately, the normal 3rd valve may be used, tuned to the proportion 3/15, so that the valve combination 1+2 and 3 are synonymous. using the Extended Helmholtz-Ellis JI Pitch Notation
In this case, the undertone tuning “22” will not be available, and the fingerings indicated for undertones 19 - 22 apply instead to 18 - 21 accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004

 

+13.7
f 
+63.0

   o
+13.7 +11.7

 4f
hk
+15.6
 o  n
+11.7

  f o
+11.7 +11.7 +13.7

( f ) f  n  o  <f
-19.4 -2.0
15 
k -2.0

k

 

  j
  n
hk
+2.0
  4
+51.3
n
  n u
+2.0 +2.0 +3.9

( j ) j  
u  n  < j
-31.2 -13.7
16 
h -13.7



k

  ;t
 
)
;u
 ;0u
hh
 ;u    ;t  ;4u ;u
+46.4

( ;u ;u  -3.0 -5.0 -18.6



;u  ;<u  ;u ;u
-1.0 -18.6 -3.0 -64.4
-5.0
17 
k -5.0 -5.0 -3.0
-36.1



k

  m
  < 

n  0
hh
 n    m  4 n
+47.4

( n ) n  -2.0 -3.9 -17.6


 n  <  n j
-2.0 -63.4 -35.1
-35.1 -17.6
18 
h -3.9 -3.9 -2.0
-3.9

k

  Æu    \<  \ó 
hk )
  \v
  \4  \v \0v
+2.5 +2.5 +4.4 +2.5 +4.4 +2.5 +6.4 +53.8 +4.4

( \v \v 
\v
-11.2

\v  \<  \v  \v Æu
-57.0 -28.7 -9.2
19 
k -28.7 -11.2

h

 
+13.7

  j    o
+13.7

 <f n
hk 
+2.0
 o  0o
+65.0 +15.6

  o
+15.6

 4f
+13.7 +13.7 +15.6 +13.7 +17.6

( o ) o 
o 
o  <f  o  o j
-45.8 -17.5
20 
h -17.5



h

  >u  >
   > 
hh
+31.2

 n >u

+29.2
+15.5
>
 0>v
+17.5 +29.2

  >
+29.2 +31.2 +29.2 +29.2 +33.1 +15.5 +80.5 +31.2

( > ) >  >  n  >  >v  >u 4>


-30.3 -2.0
21 
k -2.0



h

  5u  5
   5  :5o 
hh
 5< 5u

 5  05v
5  
  5v  5u  j 5

22 
h
( 5 ) 5  -49.4 -51.3 -65.0 -49.4
5<
-82.5 -51.3
5
-47.4 -65.0 -49.4 -110.8 -82.5 -63.0 -51.3 -46.3


h -51.3 -51.3

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