I don't think there is much of a possibility that everyone used Tosi's tuning. I mean, they don't call it "ordinaire" for nothing, and Handel had his own temperament, his own Tuning fork, and so on. dt
At 12:21 PM 9/2/2009, you wrote: >Hi, all.. > >I have been having fun reading Prof Duffin's "How ET Ruined Harmony" >and wanted to ask about Baroque tunings wrt lutes, theorbos, et al. > >According to Prof D, most late Baroque (post 1650) and Classical tuning >was done using the scheme written out by one Pier Francesco Tosi. In >this scheme he divides a tone into nine parts (commas) with an octave >consists of 55 commas. He thus differentiates between a "major semitone" >(diatonic) at 5 commas and a "minor semitone" (chromatic) at 4 commas. >In terms of our modern cents, the major semitone is around 109.1 cents=20 >and the minor at 87.3, for a noticeable difference of almost 22 cents. > >=46rom my reading, it seems that most continuo players tune to MT, whereas >this tuning is closer to a "modified 6th-comma". Is this the case? Or >does it vary based on circumstance? For example, if playing in an=20 >orchestra with harpsichord, then one tunes to the harpsichord temperament. >If one is solo with a singer, then one is free as to temperament. > >Any thoughts? > >--=20 >Best regards .. mark. > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
