To hear what this keyboard-centric mucking about with temperament
   actually means in practice, I strongly recommend Richard Egarr's
   excellent harpsichord recital at Weill Hall on  [1]

   He plays the first half (Byrd and Sweelinck) in 1/4-comma meantone and
   the second half (Blow and Purcell) in an unspecified, less extreme
   temperament.   Before each half, he gives a demonstration of the
   effects of each temperament, which are startlingly different (at 02:30
   and 48:45).   Worth a listen.
   All best
   On 8 March 2018 at 10:31, Matthew Daillie <[2]>

     Hi Leonard,
     This seems to be a very convoluted and hit and miss method to me.
     Maybe it would be good to get back to basics (which is what you are
     doing when checking the major thirds between the fifth and third
     courses of your lute).
     With 1/4 comma meantone you are looking to have 8 pure, beat-less
     major thirds (C-E, for example). These are narrower than equal
     temperament thirds which can sound pretty awful once you get used to
     the purity of major thirds. It is not always easy to hear the beats
     on a lute (far less evident than with the metal strings and clear
     harmonics of a harpsichord, for example) so it is generally advised
     to set the frets based on calculations for your string length. You
     can use a calculator such as the one provided online by Lauri
     Niskanen which will give you the distances between the nut and the
     various frets. All you need to do is enter the string length of your
     lute and place your frets accordingly. Here's the link:
     Once you've done that you will need to see if you require extra
     frets (tastini) for notes that would not be in tune without them
     (such as the first position F# on the 4th course of a lute in g').
     Mean tone distinguishes between enharmonic notes, (so D# will be
     lower than Eb flat, for example) and you can't have both at the same
     time on the lute and you will need to adjust the position of certain
     frets according to the piece you are playing. Once your frets are
     set, I would suggest tuning an a' from a tuning fork or electronic
     tuner and then tuning the other courses by ear from that by using
     octaves. If you do not feel comfortable tuning by ear then use the
     setting on your tuner to get 1/4 comma mean-tone with an Eb as you
     will be playing music in flat keys. The final adjustments really do
     need to be made by ear, however good your tuner and you can check
     the major thirds of the piece you are playing.
     Hope this helps.
     can use a pr

   On 08/03/2018 02:17, Leonard Williams wrote:

     Here's a tuning method I've been experimenting with, and I'm
     wondering about others' related experiences.   My 8 course is
     nominally in g (i.e., g treble), 1/4 comma meantone. But - since
     most of the music I play is in flat keys, I set my Peterson tuner
     for an instrument in F instead of C.   Thus when I tune the g, the
     readout is d, etc.   I've also found that using a chord consisting
     of fret d on 3rd, e on 4th, and f on fifth is helpful in refining
     the tuning and those frets.
             Any similar experiences?
     Best to all,
     Leonard Williams

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