Hello + seeking a rule of thumb

Hello all,I've joined the group because I have a practical question, which I imagine isn't as simple as I'd like. What is? As a bit of background I've been playing the flute for 30 odd years in many styles, classical first then some jazz. I play in an Irish band too. I never studied music theory until a few years back when I took my music A level (a university entrance level exam). I have however studied physics, so I find the mathematical complexities of tuning issues fascinating. Still, like I said, I have a practical question. In my search to keep stretching myself on the flute I've agreed to do a performance of the Bach solo partita in A minor for flute, BWV 1013. The notes on my edition suggest that intonation nearer just than even temperament should help bring out the sense of the music. So my question, niavely expressed is, is there a rule of thumb I can apply for the enharmonics? I'm sure this is a complex issue but I could do with a simple rule, such as a sharp should be a bit sharper and a flat a bit flatter than equal temperament, which I can remember as I'm playing and which will point me in the right direction. And then, I suppose it will be a matter of trial and error as to what sounds right to me. To put the question in another way I appreciate that an F sharp and a G flat have different pitches because they lie in different harmonic series and different keys. What I can't figure out is does an F sharp always have the same pitch or does that depend on the key it lies in? Is the F sharp in G major the same frequency as the F sharp in B major? Are minor keys different? In short do I have to work out the underlying harmony of the piece in order to be able to fully realise the intended tonal colour? I understand J J Quantz, a contemporary of Bach's and author of one of the first books on flute playing recomended different fingering for the enharmonics, so it seems there's some hope. Many thanksScott Clifford, Shipley, West Yorkshire, UK

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Hello Scott,

Bach may be the exception regarding different F#s and Gbs. Except for the
solo flute, violin, and cello works by Bach, every other pieces uses a
keyboard which makes a single enharmonic choice. I recommend you get the
notes for Werckmeister III for Bach's enharmonic tuning.

For the solo Flute Partita, it works beautifully in Werckmeister III. Bach
was not a fan of just intervals, preferring temperament. For example, there
are 8 pure fifths in W III and 4 flattened fifths (6 cents flat of pure). In
analyzing the opening intervals of Bach's works, the composer prefers the
flat fifths for opening melodic intervals of movements. Instruments can be
adjusted rather easily to play in any tuning.

I hope this helps. best, Johnny Reinhard

--- In tuning@yahoogroups.com, Scott Clifford <springswood@y...>
wrote:

> The notes on my edition suggest that intonation nearer just than
>even temperament should help bring out the sense of the music.

just intonation makes chords sound better, but for a solo flute piece
you'd need a ton of reverb to really hear this effect.

>I could do with a simple rule, such as a sharp should be a bit
>sharper and a flat a bit flatter than equal temperament,

quantz's instructions went in the opposite direction, actually. for
more detail on the tuning system taught by quantz, tosi, mozart, and
others, see

http://sonic-arts.org/monzo/55edo/55edo.htm