Tubulong: Difference between revisions

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The tubulong is a tuned set of metal tubes. It has been used by
The '''tubulong''' is a tuned set of metal tubes. It has been used by [[Lou Harrison]], [[Erv Wilson]], [[Ivor Darreg]], and [[Bart Hopkin]], among many others.
[[Lou Harrison]], [[Erv Wilson]], [[Ivor Darreg]], and Bart Hopkin, among many
others.


== History ==
== History ==
[[File:Deagan-pipelaphone.jpeg|thumb|300px|The Deagan pipelaphone, later tubaphone.]]
[[File:Deagan-pipelaphone.jpeg|thumb|300px|The Deagan pipelaphone, later tubaphone.]]


The chime of metal tubes goes back at least to 1889 with the Deagan
The chime of metal tubes goes back at least to 1889 with the Deagan pipelaphone, later marketed as the tubaphone.<ref name=deagan1889musical/><ref name=deaganresource/> The instrument later became popular for playing music in alternative tunings, since it is relatively easy to build and tune and holds its tune very well.  
pipelaphone, later marketed as the tubaphone.<ref name=deagan1889musical /><ref name=deaganresource />
The instrument later became popular for playing music in alternative tunings,
since it is relatively easy to build and tune and holds its tune very well.


Erv Wilson originally coined the term tubulon by phonetic analogy with gamelan;
Erv Wilson originally coined the term tubulon by phonetic analogy with gamelan; later this became tubulong.<ref name=hopkin1994tubulonia/> Tubalong and tubaphone are also used, as well as various particular names for individual instruments (see recordings below).
later this became tubulong.<ref name=hopkin1994tubulonia /> Tubalong and
tubaphone are also used, as well as various particular names for individual
instruments (see recordings below).


The [https://intervalarchive.com/microtonal-history/ Interval Archive] contains
The [https://intervalarchive.com/microtonal-history/ Interval Archive] contains some photos of tubulongs.
some photos of tubulongs.


== Music ==
== Music ==
 
Lou Harrison's 1970 puppet opera ''Young Caesar'' uses two tubulongs called "soprano bells" and "tenor bells".<ref name=alves2017microfest/> The internet archive has a [https://archive.org/details/AM_1974_12_25/AM_1974_12_25_A_ed.wav recording of the 1971 premiere], followed by a radio interview with Harrison and Bill Colvig.
Lou Harrison's 1970 puppet opera ''Young Caesar'' uses two tubulongs called
"soprano bells" and "tenor bells".<ref name=alves2017microfest /> The internet
archive has a [https://archive.org/details/AM_1974_12_25/AM_1974_12_25_A_ed.wav recording of the 1971 premiere],
followed by a radio interview with Harrison and Bill Colvig.


[[File:Rosenthal-tubulong-1-small.jpeg|thumb|300px|David Rosenthal playing his tubulong.]]
[[File:Rosenthal-tubulong-1-small.jpeg|thumb|300px|David Rosenthal playing his tubulong.]]
[[File:Rosenthal-tubulong-2-small.jpeg|thumb|300px|David Rosenthal's tubulong.]]
[[File:Rosenthal-tubulong-2-small.jpeg|thumb|300px|David Rosenthal's tubulong.]]


David Rosenthal's 1977 composition ''Improvisations'' appears on the 1979
David Rosenthal's 1977 composition ''Improvisations'' appears on the 1979 record [https://youtu.be/ruIdlyei1OU&t=1582 ''Professor Johnson's Astounding Sound Show'']. From the liner notes:
record [https://youtu.be/ruIdlyei1OU&t=1582 ''Professor Johnson's Astounding Sound Show''].
From the liner notes:


<blockquote>
<blockquote>
"Improvisations" was composed in 1977, shortly after I built the just-intoned
"Improvisations" was composed in 1977, shortly after I built the just-intoned tubulong, the 88 key 3½ octave instrument on which the piece is played. The tones of the tubulong are tuned to notes of harmonic series and their inversions. Each of eight rows of eleven metal alloy tubes sounds a series through and including the 15th harmonic (each is thus a transposition of an identical chord). The complete inversion of every transposition is also available on the instrument. This amounts to an enlargement of the late Harry Partch's "tonality diamond" tuning system, and the tubulong much resembles certain of his creations. Partch's original design is altered mainly by revoicing and rearrangement of tones. These changes and the tubulong's ample range increase its self-sufficiency for my purposes.
tubulong, the 88 key 3½ octave instrument on which the piece is played. The
tones of the tubulong are tuned to notes of harmonic series and their
inversions. Each of eight rows of eleven metal alloy tubes sounds a series
through and including the 15th harmonic (each is thus a transposition of an
identical chord). The complete inversion of every transposition is also
available on the instrument. This amounts to an enlargement of the late Harry
Partch's "tonality diamond" tuning system, and the tubulong much resembles
certain of his creations. Partch's original design is altered mainly by
revoicing and rearrangement of tones. These changes and the tubulong's ample
range increase its self-sufficiency for my purposes.


The just tuning system used here includes many intervals not practicable in our
The just tuning system used here includes many intervals not practicable in our standard contemporary musical alphabet of twelve equally spaced tones to the octave. In it, there are much finer increments of pitch, and there is much potential for expressiveness by virtue of the greater power and variety of both consonance and dissonance. The limitation of this tuning by most western standards lies in its inability to achieve intricate transposition of certain musical materials, but this is not necessarily an impediment to what the ear hears as a real modulation. "Improvisations" treats the tuning as a giant mode, portions of which make up distant keys, which differ in intervallic
standard contemporary musical alphabet of twelve equally spaced tones to the
construction, but modulate one into another, and develop the same ideas. The title of the piece may be misleading, in that it does not refer to how the piece is played, but to how it was written, and to how it should sound. "Improvisations" is completely notated, but its rhapsodic pacing and the very interpretive playing it calls for justify its name.
octave. In it, there are much finer increments of pitch, and there is much
potential for expressiveness by virtue of the greater power and variety of both
consonance and dissonance. The limitation of this tuning by most western
standards lies in its inability to achieve intricate transposition of certain
musical materials, but this is not necessarily an impediment to what the ear
hears as a real modulation. "Improvisations" treats the tuning as a giant mode,
portions of which make up distant keys, which differ in intervallic
construction, but modulate one into another, and develop the same ideas. The
title of the piece may be misleading, in that it does not refer to how the
piece is played, but to how it was written, and to how it should sound.
"Improvisations" is completely notated, but its rhapsodic pacing and the very
interpretive playing it calls for justify its name.


It is important to mention that no technical or theoretical understanding of
It is important to mention that no technical or theoretical understanding of any tuning is prerequisite to the enjoyment of this or any other music. There are no necessary obstacles to the appreciation of intonational subtlety. The listener's central involvement is not with the explanation of musical artistry, but with its effort.
any tuning is prerequisite to the enjoyment of this or any other music. There
are no necessary obstacles to the appreciation of intonational subtlety. The
listener's central involvement is not with the explanation of musical artistry,
but with its effort.


                            —DR
—DR
</blockquote>
</blockquote>


Lou Harrison's score for James Broughton's 1988 short film
Lou Harrison's score for James Broughton's 1988 short film [https://www.youtube.com/watch?v=5rUzv3Ki-SM ''Scattered Remains''] uses a tubulong as well as a retuned harpsichord.<ref name=alves2017microfest/>  
[https://www.youtube.com/watch?v=5rUzv3Ki-SM ''Scattered Remains'']
uses a tubulong as well as a retuned harpsichord.<ref name=alves2017microfest />
 
Dean Drummond's zoomoozophone consists of 129 aluminum tubes in a 31-tone just
tuning.<ref name=drummondprimer /> It is featured on the 1990 Newband album
[https://moderecords.bandcamp.com/album/microtonal-works-mode18 Microtonal Works].


Gayle Young's Columbine is 61 steel tubes tuned to a 23-tone just tuning.<ref name=youngcolumbine />
Dean Drummond's zoomoozophone consists of 129 aluminum tubes in a 31-tone just tuning.<ref name=drummondprimer/> It is featured on the 1990 Newband album [https://moderecords.bandcamp.com/album/microtonal-works-mode18 Microtonal Works].
A video of Young's 2021 composition Nine by Nine performed on Columbine is
[https://www.youtube.com/watch?v=vW1iqfeDiVI available on YouTube].


The Union Duo, Anthony Di Sanza and Todd Hammes, have a series of videos called
Gayle Young's Columbine is 61 steel tubes tuned to a 23-tone just tuning.<ref name=youngcolumbine/> A video of Young's 2021 composition Nine by Nine performed on Columbine is [https://www.youtube.com/watch?v=vW1iqfeDiVI available on YouTube].
[https://www.youtube.com/playlist?list=PLxRttDjzAoeo-ui2iwHQdgDcWoQpOcej- Music with Tubes]
featuring a replica of Lou Harrison's Tenor Bells.


Percussionist Emil Richards had two tubulongs tuned in equal temperament, which
The Union Duo, Anthony Di Sanza and Todd Hammes, have a series of videos called [https://www.youtube.com/playlist?list=PLxRttDjzAoeo-ui2iwHQdgDcWoQpOcej- Music with Tubes] featuring a replica of Lou Harrison's Tenor Bells.
he called pipe gamelans. There are some videos of them on YouTube:


Percussionist Emil Richards had two tubulongs tuned in equal temperament, which he called pipe gamelans. There are some videos of them on YouTube:
* [https://www.youtube.com/watch?v=PotVZZsVcDY "Porgy and Bess" on Brass Pipe Gamelan]
* [https://www.youtube.com/watch?v=PotVZZsVcDY "Porgy and Bess" on Brass Pipe Gamelan]
* A [https://www.youtube.com/watch?v=Eiojev3vgVs demonstration of the Brass Pipe Gamelan] showing many playing techniques
* A [https://www.youtube.com/watch?v=Eiojev3vgVs demonstration of the Brass Pipe Gamelan] showing many playing techniques
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== Acoustics ==
== Acoustics ==
The frequency of an ideal tube goes as one over the square of its length, so making a tube twice as long lowers its pitch by ''two'' octaves. This rule applies better or worse depending on the material and construction of the tubes.<ref name=hopkin1994tubulonia/>


The frequency of an ideal tube goes as one over the square of its length, so
If the tubes have a seam running down the inside, they produce two slightly different notes depending on where they are struck.<ref name=hopkin1994tubulonia/> Compare the two-tone phenomenon in Bronze Age Chinese bells.<ref name=rossing1989acoustics/>
making a tube twice as long lowers its pitch by ''two'' octaves. This rule
applies better or worse depending on the material and construction of the
tubes.<ref name=hopkin1994tubulonia />
 
If the tubes have a seam running down the inside, they produce two slightly
different notes depending on where they are struck.<ref name=hopkin1994tubulonia />
Compare the two-tone phenomenon in Bronze Age Chinese bells.<ref name=rossing1989acoustics />


== References ==
== References ==
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== Further reading ==
== Further reading ==
* Ivor Darreg, [http://www.tonalsoft.com/sonic-arts/darreg/xhb11.htm METAL TUBES AND BARS], Xenharmonic Bulletin No. 11, 1989
* Ivor Darreg, [http://www.tonalsoft.com/sonic-arts/darreg/xhb11.htm METAL TUBES AND BARS], Xenharmonic Bulletin No. 11, 1989
* Bart Hopkin, [https://archive.org/details/emi_archive/EMI_2_1_June1986/page/4/ Stephen Smith's Conduit Marimbas and Glass Marimbas], Experimental Musical Instruments 2 #1, 1986
* Bart Hopkin, [https://archive.org/details/emi_archive/EMI_2_1_June1986/page/4/ Stephen Smith's Conduit Marimbas and Glass Marimbas], Experimental Musical Instruments 2 #1, 1986