RE: [tuning] Re: Bull and 19-tone tuning

Dale C. Carr wrote,

>Keyboard works of Byrd, Gibbons and other English composers
>regularly use a-flat and d-sharp as if these were nothing out of the
>ordinary.

Though I've certainly heard triads like F G# C in Byrd, I don't think any of
these composers ever used the wolf fifth G# - Eb except in passing. Any
evidence to the contrary?

Dale C. Carr wrote,

>>>Keyboard works of Byrd, Gibbons and other English composers
>>>regularly use a-flat and d-sharp as if these were nothing out of the
>>>ordinary.

I wrote,

>>Though I've certainly heard triads like F G# C in Byrd, I don't
>>think any of
>>these composers ever used the wolf fifth G# - Eb except in passing. Any
>>evidence to the contrary?

Dale replied,

>>>>>>Bull's piece has a big fat a-flat major triad in root position
at the beginning of the 7th entry of the hexachord. The triad is
complete, i.e. all 3 notes are present. Later there's a complete
a-flat major triad in 1st inversion. The 'cadence' of this entry is
also an a-flat major chord, but without the e-flat. The passgae
also includes at least one d-flat major triad, a b-flat minor triad,
an f-minor seventh triad (w/ e-flat).

Sounds like the piece uses a gamut from d-flat to f-sharp. There have been
many references on this list to Renaissance composers expecting the
keyboardist to retune anew for each piece. Nothing indicating a
non-meantone, circulating 12-tone temperament here (as far as I can see . .
.)