Re: [tuning] Re: Bach and tuning and Paul

In a message dated 8/20/01 5:03:57 PM Eastern Daylight Time,
paul@stretch-music.com writes:

> Certainly, he would have opposed shading the thirds _away_ from
> purity, which is one of the effects of "expressive intonation" (as
> sharps are intoned higher than enharmonically equivalent flats).
>
>

Paul, do you know what you are talking about here? Casals' expressive
intonation might have sharps higher or lower, depending. Listen to the
examples of his 2 minor key suites for examples by Casals contrary to your
assertion.

And really, keyboard only for Bach, and then a switch for other pieces? I am
fast coming to the conclusion that there is a "harmony" bias to this list.
Bach was keen on melodic relationships, and these don't change in solos, but
become even more important.

Best, Johnny Reinhard

--- In tuning@y..., Afmmjr@a... wrote:

>
> Paul, do you know what you are talking about here?

I've read about Casals' concept of "expressive intonation" in many
different sources. The idea of heightening melodic tendencies by
shrinking diatonic half steps, and enlarging chromatic ones, seems
always to be connected with it. I bet I could even find a post by you
that supports this.

> Casals' expressive
> intonation might have sharps higher or lower, depending.

Well then you are agreeing that the intonation would depart from that
of a keyboard. And that is the main point I was trying to make, for
Neil.

> Listen to the
> examples of his 2 minor key suites for examples by Casals contrary
to your
> assertion.

Are there enharmonically equivalent pairs of pitches to be compared
in these suites? If so, tell us what you've found -- I'll take your
word for it.
>
> And really, keyboard only for Bach, and then a switch for other
pieces?

Can you explain this sentence? I've read it ten times, and I still
don't know what it means.

> I am
> fast coming to the conclusion that there is a "harmony" bias to
this list.
> Bach was keen on melodic relationships, and these don't change in
solos, but
> become even more important.

If you're saying that the precise melodic relationships of
Werckmeister III are of paramount importance, that how could Casals
get away with playing "sharps higher or lower, depending" as you say
above?