On 18.01.2007 dc wrote:
Johannes Gebauer écrit:
Well, tempered open strings doesn't mean we play tempered.
But you at least play tempered if and when you play a fifth on open strings.
John's idea that temperament is only an issue on keyboard instruments is
completely wrong. What about fretted instruments? I often play with viola de
gamba or theorbo, and both of them can and do use meantone, for instance. I
have no problems playing or tuning with these TEMPERED instruments. But I do
have problems any time I play with a modern cellist, who seems to think a fifth
is a fifth is a fifth.
Temperament does not depent on three or four tempered fifth. And no, I
don't think I even could play tempered. There will be little
adjustments, for every note we play. It simply cannot be avoided. And it
is partly the beauty of our instruments. If we didn't want this we might
as well use frets.
That really depends on the music, and who we play with. For the music I do
mostly which is 18th century and later, pure fifth simply don't work. For early
17th century music they may work very well, though it will require a mean tone
tuning for keyboard instruments, and that requires the tuning of extremely
narrow fifth. It's something one has to learn.
I assume you mean pure thirds and not pure fifths. For most 17th century music, meantone
is the only tuning that will work. You find pure thirds "vulgar". I find the
wide and uniform thirds of ET dreadful. But this is a question of musical taste and
education.
Yes, pure thirds not fifth, mea culpa. I find pure thirds vulgar only
for 18th century music. Try listening to a Mozart string quartet where
every third is completely pure. It won't work and will create all sorts
of problems.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
