Am 29 Mar 2006 um 17:00 hat Edward Martin geschrieben: > Howard, > > I agree with everything you said, totally. That is exactly my > practice with fret placement..... slightly diminish the 2nd & 4th > frets, for renaissance tuning.
..and adjust the open courses and the other frets accordingly, one might add. I know people who always fumble with their first four frets only and get it never right. Maybe partly because of questionable tuning advices and partly because of misconceptions like "in meantone the octaves cannot be in tune on the lute". Regards, Stephan > > Well stated! > > ed > > > At 12:30 PM 3/29/2006 -0800, Howard Posner wrote: > >Monica Hall wrote: > > > > > I have got these two CDs of baroque guitar music to review. One > > > of them says that the instrument is tuned to A=415 in mean-tone > > > temperament; the other to A = 440 in mean tone temperament. No > > > more information than that is given in the notes, but one of the > > > CDs has 2 photos of the artists and it seems that this refinement > > > is achieved by putting strips of something - cardboard? plastic?! > > > partly under sections of some of the frets. The frets themselves > > > look very thick and as if they were of a single thick strand of > > > whatever - gut? nylon? rather than tied in a loop like I do mine. > > > > > As far as I'm aware the guitar was usually tuned to a sort of > > > equal temperament - at least that is what Doisi de Velasco says > > > and how else would they have been able to play in the 12 different > > > major and minor keys - as they were wont to do? But I do vaguely > > > remember also reading somewhere that lutenists sometimes did > > > something like this and even that there was a name for the > > > practice. > > > >This discussion seems to have gotten sidetracked, and indeed diverted > >to another list. Tuning a fretted instrument in a basic functional > >meantone is not difficult: place the second and fourth frets closer > >to the nut than they would be in equal temperament, and you've done > >most of the job. Most of the thirds of major chords fall on those > >frets, and by shortening them you get thirds that are closer to pure, > >and much more consonant and at rest than equally tempered thirds. > >The exact process of fret placement is a season-to-taste process, not > >only because different setups satisfy different ears, but because the > >imprecisions inherent in fretting a string make it more art than > >science. Tastini are not necessary. Whether you want them or not > >depends on how much weirdness you want when the tonality goes far > >afield. Unusual keys do not necessarily require equal temperament. > > > >HP > > > > > > > >To get on or off this list see list information at > >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > Edward Martin > 2817 East 2nd Street > Duluth, Minnesota 55812 > e-mail: [EMAIL PROTECTED] > voice: (218) 728-1202 > > > >
