TUNING digest 1254

>As you pointed out, the guitar might not even be useful in some of the just
>tunings you refer to...so, it wouldn'd do me and zillions of other
guitarists >much good.

Well, I didn't say it would! The best tunings for guitars are probably the
equal temperaments. Unless we're talking about midi guitars. And although
I've never played one, I'm guessing they're not much closer to real guitars
than keybaords are to pianos.

Note: Some folk think keyboards are like pianos. That ain't me.

>When you speak of a keyboard that could play a just tuned Mysteries, I
think >that's wonderful and meaningful...but, could a flute player solo over
the >changes on a just flute? A sax? When all players can participate in
pure >tunings on a practical, everyday level, then I think equal
temperaments have
>met their match.

Yes, a just flute could play along with my just keyboard. A regular sax
does very well in 7 limit Just when supported by Barbershop quartet. And,
well... Maybe you should double-check what John's been playing on that
fretless!

Carl


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From: Erik Nauman
Subject: RE: TUNING digest 1254
PostedDate: 02-12-97 19:17:52
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On Tue, 2 Dec 1997, Erik Nauman wrote:
> >And WTC 2. Bach wrote each Prelude and Fugue pair to fit the
> >characteristics of the key it was in. Not "to demonstrate that playing in
> >all keys was possible", as I have read in many a conservatory circle-> So
> >much for all "interpretations" based on that!
> Has anyone recorded WTC 1 or 2 in well-temperament? What doe s a
> well-tempered harpsicord sound like?
> Erik Nauman


Way back in 1974, when I was a freshman at Brigham Young University, the
staff piano tuner tuned two 'identical' haprsichords (Neupert!) - one in
EQ, and the other in a well-tempered system (I believe it was Kirnberger
II). Then, we listened to WTC Prelude #1 in C Major. I was astonished at
the difference! To me,the relative stability/instability of chords
provided an interest level comparable to the interest level that dynamics
provide on a piano. In other words, playing these works in EQ is, to me,
akin to playing Beethoven with one dynamic level.

Most good harpsichord recordings made in the past twenty years or so will
use some sort of well-temperament. (Likewise, the most of today's best
organ builders do not use EQ.)


Joe Downing,
in Syracuse


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From: "Paul H. Erlich"
Subject: RE: Bach again
PostedDate: 02-12-97 23:08:33
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>>Has anyone recorded WTC 1 or 2 in well-temperament? What doe s a
>>well-tempered harpsicord sound like?
>
>>Erik Nauman
>
>The only recording of BOTH WTC 1 and 2 in well-temperament that I know of is
>Anthony Newman's. I'm pretty sure it's out of print. His well-tempered
>harpsichord clearly brings a distinction between the keys to the music that
>really seems to belong there. It's very bright-sounding even for a
>harpsichord, though, which
>may turn off a lot of piano-accustomed listeners.


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From: sejic@nersp.nerdc.ufl.edu (World Harmony Project Inc.)
Subject: JI tuning for fretless guitar
PostedDate: 03-12-97 02:52:48
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Anthony Newman uses Aron-Neidhart II for the WTC1: This is a devising by
Owen Jorgensen, one of the great piano tuners alive today. I don't have
the specs before me. But it should be clear that Aron never met Neidhardt
(living more than a hundred years apart).

The reason I believe that Bach used well-temperament for most of his life
is because his pupil Johann Philipp Kirnberger says so and I think he is
eminently believeable.

Looking forward to the Beethove collection. Def!

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@idt.net
http://www.echonyc.com/~jhhl/AFMM


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From: Carl Lumma
Subject: of Bach and Temperament
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