As I originally suspected the chimeric 'tastini' are therefore your solution
(or asking the Director to hold on a bit whilst you adjust frets) -
hmm......................
MH
LGS-Europe <[EMAIL PROTECTED]> wrote:
Dear Martyn
>> What you are also overlooking is what happens when, to take just one
>> very simple early example in your table below, your first course is
>> fretted at the first fret but not as a chromatic interval (ie G# for a
>> lute in nominal G) but a diatonic interval of Ab?
<<
Sure, either G# or Ab, not both at the same time, obviously. You cannot have
both on one fret, like the organ cannot have both on one key. The first fret
is the practical problem for which practical solutions have to be found,
yes. In pieces appropriate for meantone you're more likely to find G#, so a
low first fret would do. In practice that is not my solution, as I find a
low first fret clumsy in setting up. What I do is high first fret with low
tastini for the bass courses. When I want to play a G# on the first course I
fret it at the second course, 6th position. On a low 6th fret, for sure. In
Dowland consort music this is how I manage with meantone viols. Other
players I know manage with a low first fret, though, and high tastini for
course 2 and 3. Good for them. But we've been here before, first fret and G#
on the fourth course are the only problems, thye have practical solutions.
Other answer: what does the organ do? G# or Ab? It has the same problem,
it'll have to find an equally practical solution. It's actually the D#/Eb
that is often bothersome. That's one we sometimes retune between pieces.
We've even divided it on some concerts: D# for the organ, Eb for me. On a
theorbo you can sometimes set both up, at different places on the
fingerboard.
>>
Do your sums again using the additional alternative chromatic or diatonic
notes as appropriate and then see what pattern you come up with.
<<
Doube first fret. Come on, let's not repeat ourselves.
>>
concert with such pieces? For example, last weekend I played continuo in an
enjoyable programme of English based Cecilian Odes (Purcell, Clarke,
Draghi - this last a real revelation and, incidentally, a key influence on
P's later ode settings): keys ranged from B (5 sharps) through to Fm (4
flats)
<<
Not a programme for which I'd advice meantone temperament! I'll be playing
Handel's Alexander's Feast coming weekend: ET for me, with perhaps open F an
C a little higher to be more in agreement with the organ and harpsichord
(some unequal fifths temperament I'm affraid, don't know yet). Next week is
going to Monteverdi's Maria Vespers, however. Perfect for meantone.
I feel like the medieval musician here, arguing practical solutions for
which there are no perfect answers according to the musicologists. It works
for me: I can play in tune with a meantone organ. You are not convinced
using theoretical arguments. Fine, let's keep it at that. Enough time spend
writing. I have to study.
David
****************************
David van Ooijen
[EMAIL PROTECTED]
www.davidvanooijen.nl
****************************
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