Historical Tuning

Daniel wolf worte...
> Starting
> with Dutch early music specialists in the sixties, most
professional
> harpsichordists and fortepianists have done their own tuning, and
usually>
> with a single tuning fork (typically using the A440A as Bb to get
somethi> ng
> something close to A415). Learning to set meantone, a Kirnberger or
a
> Werkmeister by ear isn't terribly hard - while tuning 12tet is
really
> specialist work unless you're using a digital tuner or a strobe.
>
> At both of my Universities in the States, and here at the Frankfurt
> Musikhochschule, the early keyboard faculty and students are
themselves
> responsible for tuning the instruments.

Most piano tuning supply houses should sell a G# fork at 415.3 cps.
I would be interested in how the students are instructed (learn) to
tune the harpsichords and fortepianos.

Richard Moody
Piano Tuner Technician

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In a message dated 97-07-05 00:51:58 EDT,
"Jonathan M. Szanto" writes:

> As an aside, I have spoken with John Schneider at length about this,
> including disagreements. That said, there is a world of, a galaxy of, a
> mighty universe of difference between someone recreating an instrument the
> work was composed for to perform it as intended, and someone transcribing
> it for not only an unintended but *unwanted* ensemble. Pure poop.

There was an article about John Schneider's Partch research
in 1/1, "Bringing Back Barstow" by John Schneider, Vol.8, Number 4.
The Remembering Harry Partch issue.

Schneider work is a reconstruction of an earlier version of Barstow.
The Johnston/Kronos version is a transcription.


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