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I was thinking, someone must actually know this but I've never come across anything definitive... Maybe I haven't looked hard enough.
Wet and musette tuning is a very distinctive sound, some love it (me, though you don't want it for everything), some hate it. It is a part of certain traditions. But where was it first developed, where did it first become traditional?
I have seen some theories:
1) the "margin of safety" theory. Free reeds were subject to the weather, the climate, getting beer and wine spilt on them, transport by donkey etc etc and they were at risk of going out of tune. Wet tuning provides some leeway before the instrument sounded wrong and lengthened time between repairs.
2) the "dancehall" theory. Free reed instruments were often played in dance venues without amplification. The musette sound cut through the murky mid-range noise so people could hear the tune.
3) the "bagpipe" theory. I thought of this but I'm sure it's not original. Wet and musette tuning is strongly traditional in Scotland, formerly in Ireland but now less so, Paris and Southern Italy. In all cases bagpipes were prominent trad melody instruments before the box took off and the box could be seen as a substitute - it certainly was in Southern Italy. Wet and musette tuning gives some approximation of the bagpipe sound. (In Paris I am going by the theory that musette music was formed when pipers from the Auvergne clashed with ballo liscio players from Emilia Romagna, but I don't know.)
But historically there must be some info on whether free reeds were wet tuned from the early days or if not how this tradition grew up or spread... Does anyone know?
Wet and musette tuning is a very distinctive sound, some love it (me, though you don't want it for everything), some hate it. It is a part of certain traditions. But where was it first developed, where did it first become traditional?
I have seen some theories:
1) the "margin of safety" theory. Free reeds were subject to the weather, the climate, getting beer and wine spilt on them, transport by donkey etc etc and they were at risk of going out of tune. Wet tuning provides some leeway before the instrument sounded wrong and lengthened time between repairs.
2) the "dancehall" theory. Free reed instruments were often played in dance venues without amplification. The musette sound cut through the murky mid-range noise so people could hear the tune.
3) the "bagpipe" theory. I thought of this but I'm sure it's not original. Wet and musette tuning is strongly traditional in Scotland, formerly in Ireland but now less so, Paris and Southern Italy. In all cases bagpipes were prominent trad melody instruments before the box took off and the box could be seen as a substitute - it certainly was in Southern Italy. Wet and musette tuning gives some approximation of the bagpipe sound. (In Paris I am going by the theory that musette music was formed when pipers from the Auvergne clashed with ballo liscio players from Emilia Romagna, but I don't know.)
But historically there must be some info on whether free reeds were wet tuned from the early days or if not how this tradition grew up or spread... Does anyone know?