And not to forget Stefan Lundgren's chamber opera on that very incident.
https://www.youtube.com/watch?v=EMkbZ3tfFjs
Best wishes,
David
At 19:18 +0200 23/7/19, Lex van Sante wrote:
The name of the violinist was Petit, who thought that his host
(Weiss) had spoken against him when he was
The name of the violinist was Petit, who thought that his host (Weiss) had
spoken against him when he was applying for a job in Dresden.
Cheers,
Lex
> Op 23 jul. 2019, om 17:58 heeft howard posner het
> volgende geschreven:
>
> The biter was a violinist. The bitee was Weiss.
>
>> On
The biter was a violinist. The bitee was Weiss.
> On Jul 23, 2019, at 8:45 AM, theoj89...@new-old-mail.cs.dartmouth.edu wrote:
>
> Didn't a musician (lute player?) try to bite the thumb off another
> musician? I can't remember the details-
> I bet the disagreement was over tempered tuning.
Didn't a musician (lute player?) try to bite the thumb off another
musician? I can't remember the details-
I bet the disagreement was over tempered tuning.
They didn't have the internet back then.
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Dear Howard,
thanks for the coaching, but I have to say, that I really couldn't hear
any significant difference. Only with the equal tuning one, which was
different from the MT ones and more appealing somehow.
It's probably due to age :)
Best wishes
G
On Tue, Jul 23, 2019
You might go back and listen to the first F chord, the fourth note of the
piece, in the quarter-comma tuning a few times, then listen to the same chord
in any of the other meantone tunings. It’s weird to the point of dissonance in
the quarter-comma version, and very different from the others.
Dear Rainer,
when listening to Tarletone, which came in 4 versions, I have to say,
that to my ears, they all sounded virtually the same, at least the 3 MT
versions.
For some reason, my ears prefered the equal temperament one, although I
can't exactly say why. It felt more "crisp"
On 22.07.2019 04:15, Jurgen Frenz wrote:
to my opinion it would be great if someone anyone would record an identical
piece of renaissance music twice: once in equal temperament and once in a
different tuning so that everybody can appreciate the difference.
Of course, one thing that nobody
to my opinion it would be great if someone anyone would record an identical
piece of renaissance music twice: once in equal temperament and once in a
different tuning so that everybody can appreciate the difference.
Of course, one thing that nobody mentioned in this discussion is our
Thank you Rafael,
I am intrigued. Would you kindly tell us precisely how you fret your
instrument? I mean the exact cents you employ for each fret, from fret
one through to fret 10 for each of the temperaments you employ.
regards
MH
On Sunday, 21 July 2019, 16:13:00 BST,
Dear all,
I would like to share my thoughts on this matter, based on my
experience as a gigging and recording musician. Since around 2006 I use
a modified meantone temperament wich, in my opinion, works practically
for fretted plucked instruments. I use it on my theorbo, my archlute
OK, I stand corrected, you know best. Have a nice day.
Matthew
Le 21 juil. 2019 à 11:15, Martyn Hodgson a
écrit :
> Dear Matthew,
> Thank you for his - though I really do not know why you suggest a
> 'slanging match'!. My intention is merely to put some historical and
> practical
Dear Matthew,
Thank you for his - though I really do not know why you suggest a
'slanging match'!. My intention is merely to put some historical and
practical perspective on the matter rather than simple personal
assertion. To repeat: you are making the common mistake of
I certainly do not wish to get into a slanging match here, I was merely
responding to a request for practical help with temperaments. In my opinion,
the prerequisite for that is to have some understanding of the basics of the
theory and above all, to get one's ears used to hearing pure
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