Re: Well tempered by Friedrich Suppigs 1722 Calculus Musicus Squiggels

> Labyrinthus Musicus of 1722:
> original written for 31 diesis/octave,
> http://diapason.xentonic.org/ttl/ttl03.html
> Facsimile Reprint
>
> Suppig seems to have adoptet therefore his composition,
> into the standard 12 division, using a
> the squiggle-algorithm in his
> "Calculus Musicus" in the same volume.
>
> By the way:
> I consider now: Bach simply overtook the
> Squiggels from that "Calculus"
> nearly identical to his WTC the same way as his forerunner S.,
> but without changing the tuning-ratios of S.s temperament.
>
> http://www.strukturbildung.de/Andreas.Sparschuh/

Hello Andreas,

I'm sorry I don't read German, and I don't own this book
from Diapason press. Are you saying that squiggles like
Bach's appear in Suppig's book? If so, can we see them?

Sorry if I have mis-read you.

-Carl

<today we do'nt know if Bach had access to such an
Instument, with split keys.>

Andreas,
of course we don't, I was only mentioning my own
instrument because it makes it so easy to play pure
thirds, and they were quite common in Italy, Sch�tz'
organ even had a split-key layout. My implication was,
that any harpsichordist, when playing with a meantone
instrument like the baroque flute, recorder, or oboe,
will fiddle with the tuning of his keys. Take a# for
instance. It is very common in pieces in Bmin, and
there is scarce likelihood that the same piece will
require a bb note, so you tune your bb key to meantone
a# and pronto. I do it for sure, and I know lots of
players who do the same.

Michael

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<Take a# for instance. It is very common in pieces in
Bmin, and there is scarce likelihood that the same
piece will require a bb note, so you tune your bb key
to meantone a# and pronto.>

Come to think of it - for a recent concert, where I
was playing the continuo, I had tuned meantone bb in
one of the 8' choirs of my Italian harpsichord, and a#
in the other one, because the concert was maeandering
through b and # tonalities, and I wasn't willing to do
a lot of retuning. I simply switched the register. Has
anybody yet thought of the possibility that this was
another reason why so many Italian harpsichords have
an 8'-8' disposition?
Michael

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