EK> The A of Kirnberger on -5 cent (relative to equal temperature) is a EK> compromiss as wel, making the sixth to the C-bourdon 11 cents too large and EK> the second to the G 9 cent too small. You may like this compromiss, it is a EK> matter of taste/choice. In my experience a bad second is more disturbing EK> than a bad sixth on the hg, due to the fact that these are relative to a EK> bourdon, making the intervals one or two octaves larger. This experience can EK> be explained by looking to corresponding overtones; I have explained that in EK> my article on tuning the tangents. Anyhow, I prefer a A pure to the G, so I EK> make it 9 cent higher than in Kirnberger II.
but on a hg we have more possibilities then just theoretically tuned tangents, because we may push a key harder to achieve a higher pitch. So with a lower A I have the possibility to play it low enough for a F major chord, and - pressed harder - as a pure 2nd in G (me too I prefer a pure A to the G). As the lower keys are harder to press (because the string is closer to the nut) I usually tune the lower A higher (2 cent below pure to G or nearly equal) and the higher A lower (5 cent below equal) to fullfill most of the musics needs. I must add, that F major chords in baroque pieces use more often the high A instead of the low, where the low A is more often used in cadences to D and G (again: all of this applies only to the hurdy-gurdy music of the 18th century). For modern or traditional tunings of the hurdy-gurdy there may be other workarounds to achieve just tuning AND compromises depending on the instruments with which one wants to play, but I'd guess there is always more than "the" right tuning. >> EK> Yes, Kirnberger II uses a set of pure fifths (9 of the 12, with one fifth EK> almost pure and two rather bad), but on the hg we only need pure fifths to EK> de bourdon(s). So, if you have G and C bourdons, the fifths F-C, C-G and EK> G-D, should be pure. Moreover, the thirds to the bourdons should be pure: EK> C-E and G-B. And yes, Kirnberger II has this property. But the minor thirds EK> C-Es and G-Bes are badly out of tune: 22 cents too small. In fact, this is a EK> compromiss in order to be able to play in many more tonalities, and it is EK> needlessly bad on a hg (apart from the case of playing together, for EK> instance with a harpsichord). Although some impureness of minor thirds plus EK> an octave (relative to a bourdon!) is not very obvious, this degree of EK> impureness can be heard well. I really would prefer I higher Eb, but in baroque hg music you always need the fifths Eb-Bb, and of course C-F and a pure D to C and then you end up with a very funny Bb-D-F chord. In a way the parts in the parallel major key - Eb major in C minor pieces - accompaigned by a C drone are something very special in baroque music and you can only find it in hg and musette repertoire, so for my taste (here we are) these parts may also have a very characteristic temperement. regards, Matthias EK> Details can be found in http://www.orfeo-fiato.nl/hurdy_gurdy_tuning.html EK> Ernic Matthias>> For my modern instrument I use a personal solution with some notes >> > in >> > Matthias> just temperament, some in well tempered but as well the "-5 >> > cent A" from >> > Matthias> Kirnberger II (that is high enough to be played in a chromatic >> > context >> > Matthias> and low enough to have a more beautiful characteristic in C). >> > Matthias> >> > Matthias> Matthias >> > Matthias> >> > Matthias> >> > Matthias> ps: kirnberger II >> > Matthias> >> > Matthias> C 0.0 >> > Matthias> Db -9.8 >> > Matthias> D 3.9 >> > Matthias> Eb -5.9 >> > Matthias> E -13.7 >> > Matthias> F -2.0 >> >> Matthias> >> > Matthias> F# -9.8 >> > Matthias> G 2.0 >> > Matthias> Ab -7.8 >> > Matthias> A -4.9 >> > Matthias> Bb -3.9 >> > Matthias> H -11.7 >> > >> > >> > >> > >> > EK> And yes, Neil, you are almost right: this natural harmonic tuning >> > makes >> > EK> things worse, or even terrible, with different drones, generally. >> > But it >> > EK> works (almost) perfectly if only two drones a fifth or a fourth >> > apart are >> > EK> used, for instance only G and c or only G and d. Details and >> > explanations >> > EK> can be found in my article on tuning the tangents: >> > EK> http://www.orfeo-fiato.nl/hurdy_gurdy_tuning.html >> > >> > EK> Tuning your hg in something like natural harmonic temperament may >> > conflict >> > EK> or not with other players/singers. If you are really playing drone >> > music, >> > EK> there should not be a conflict. But, for instance, playing with a >> > melodion >> > EK> or a guitar, the conflicts are already intrinsic to the combination >> > of a >> > EK> drone and a harmony instrument; so, why not give it a try in such a >> > case as >> > EK> well? >> > >> > EK> Ernic >> > >> > >>
