Alphorn company

The Alphorn Fa stands for the 11th tone in the natural series . The frequency ratio of the Alphorn Fa to the third octave is 11: 8, corresponding to 551 cents . The corresponding interval is to be placed between a fourth and a tritone .

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Horn instruments without valves such as the alphorn are limited to the notes of the natural series . After the natural seventh , the alphorn Fa is the second tone that is not included in the diatonic scale . If C is the keynote , the alphorn Fa (551 cents ) is theoretically between F (498 cents) and F sharp (590 cents). For people who are used to classical music , the Alphorn Fa sounds strange.

The name Alphorn - Fa is the names of the relative Solmisation taken, in which the scale of do-re-mi-fa-so-La-Si-Do is referred to, wherein Do the root note (in C major, C ), and Fa to fourth tone of the scale (in C major F ).

The alphorn Fa is used in old melodies for alphorns (or natural trumpets and natural horns). Classical and modern composers also consciously use the alphorn Fa, while the "Swiss Yodelling Association", which is also responsible for alphorns, regards the alphorn Fa as a "sonus non gratus" (undesirable tone).

Remarks

↑ The theoretical assumption is based on a very narrow tube without a conical expansion of the instrument. The conical shape with the funnel-shaped mouth opening (cup, support) that is present in practice with alphöners and other brass instruments leads to a slightly different overtone composition. The wind player can also use special techniques to change the pitch by at least ± 10 cents. Larger funnels make voicing more difficult, which means that the instrument sounds louder and cleaner. A change in the shape and the curve of the support has not only effects on the sound, but also a slight change in the natural tone spacing. The pitch deviation from the theoretical assumptions is greatest on average with the low notes, so the fundamental can only be assumed theoretically in practice. In many natural tone instruments, the fundamental tone is so far removed from the desired pitch that it cannot be intonated properly.

[1] The theoretical assumption is based on a very narrow tube without a conical expansion of the instrument. The conical shape with the funnel-shaped mouth opening (cup, support) that is present in practice with alphöners and other brass instruments leads to a slightly different overtone composition. The wind player can also use special techniques to change the pitch by at least ± 10 cents. Larger funnels make voicing more difficult, which means that the instrument sounds louder and cleaner. A change in the shape and the curve of the support has not only effects on the sound, but also a slight change in the natural tone spacing. The pitch deviation from the theoretical assumptions is greatest on average with the low notes, so the fundamental can only be assumed theoretically in practice. In many natural tone instruments, the fundamental tone is so far removed from the desired pitch that it cannot be intonated properly.