Each horn, no matter what its scale turns out to be, has a song of some sort in it. (Once they've been "carved in steel" the choices are to scrap them or find a use for them.) I came up playing alto saxophone and I often want music to have wind in it, particularly non-vocal music.
3/4 in copper pipe connectors fit clarinet mouthpieces. For me this was a very fortunate happenstance. I've tried making my own mouthpieces without very much success. I still hope to do this.
Since the pitches are fixed I generally tune the stringed instruments to accomodate them, but working the other way happens as well.
Iíve learned a lot from making music out of strange and / or fragmentary scales. Sometimes only two or three out of six or seven tones are useful in a given situation and this has led me to explore non-scalar melodic relationships, emphasizing placement and attack, function instead of embellishment. My tendency, from exposure to traditional western instruments, was to use speed and harmonic density to create melodic shapes. I've discovered playing four-hole reed pipes that there's a lot one can do with a tetrachord (even a very strange one). Recently I've been thinking more about the rhythms and inflections of speech in regards to melody. And about birdsong as well.
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