Dear Roman and all,
is there really any experienced lute player, who does not correct his/her
intonation towards pure while playing? It is easier to the viola da gamba
players, of course, but very possible to us lutenists, too! Even if you do
not want to set your frets to non ET, you can easily
Even more. I think ET is a musical embodiment of same
egalitarian/republican
idea that was perpetrated on the civilization by the secret cabal of
Rosicrucians and Illuminati, and MT embodies submission to despotism and
status quo. All of this fits nicely into Platonic connection between
Subject: Non equal contra equal temperament
On Fri, 11 Mar 2005, Roman Turovsky wrote:
So, to drive the point as far as humanly possible:
Meantone is painting-by-numbers, while ET permits one to say something
meaningful and original, musically speaking.
It is really confusing to find
So, to drive the point as far as humanly possible:
Meantone is painting-by-numbers, while ET permits one to say something
meaningful and original, musically speaking.
It is really confusing to find a militant or fundamantalistic
fighter for equal temperament in the Lute List!
REally??? How
On Fri, 11 Mar 2005, Roman Turovsky wrote:
So, to drive the point as far as humanly possible:
Meantone is painting-by-numbers, while ET permits one to say something
meaningful and original, musically speaking.
It is really confusing to find a militant or fundamantalistic
fighter for equal
that modulation is
a part of all art music in the middle to late baroque, and there's no
evidence that most of them used equal temperament. Again, empirically we
know that modulation works in unequal temperament, because musicians have
been doing it for a generation.
On Fri, 30 Jan 2004, Roman Turovsky wrote:
Composers are practical creatures and I doubt
they were given to the masochism and snobbery of the type of our friend in
Helsinki.
I just wonder Mr. S's comments like this. If his ears ans mind
enjoy equal temperament, let it be so. Nobody can
Dear All:
None of the Monteverdi I've played strayed into unusual keys. What works
are we talking about?
Yours,
Jim
Dear All:
I forgot to mention in my previous posting that when I played the
Monteverdi Vespers with the Folger Consort some years ago we used tempered
(not equal) tuning and fretting, and it sounded wonderful.
Yours,
Jim
electronic tuners you are wrong. I have two of these things, one is a
cheapo with ofcourse only equal temperament and only a=440 Hz. The other Korg
OT-12) can be calibrated to any frequency you like and also many temperaments
(valotti, meantone, etc. etc.). that's certainly not a cheap thing
tuners you are wrong. I have two of these things, one is
a
cheapo with ofcourse only equal temperament and only a=440 Hz. The other
Korg
OT-12) can be calibrated to any frequency you like and also many
temperaments
(valotti, meantone, etc. etc.). that's certainly not a cheap thing. This
was
also
Dear All,
Just a footnote - well-tempered is not the same as equal-tempered.
No one knows exactly which temperament Bach had in mind when he wrote the WTC but
there are some strong candidates amongst temperaments which were popular at the time.
The late John Barnes wrote an article in Early
The WTC then becomes an interesting exercise in *composing* in different keys
(because each key has its own character), rather than an exercise in *playing*
in any key (which is trivial).
This is a matter of opinion, and I personally find nothing trivial about it.
Unequal temperament may give
On Friday, January 30, 2004, at 04:01 PM, Roman Turovsky wrote:
The WTC then becomes an interesting exercise in *composing* in
different keys
(because each key has its own character), rather than an exercise in
*playing*
in any key (which is trivial).
I'm sorry - writing for writing. Try
The WTC then becomes an interesting exercise in *composing* in
different keys
(because each key has its own character), rather than an exercise in
*playing*
in any key (which is trivial).
I'm sorry - writing for writing. Try to play ''in any key''!
This is a matter of opinion, and I
remember Artusi now.
I also can't find any reference to equal temperament from either Monteverdi
or Artusi. Perhaps you could specify?
Howard
reference to equal temperament from either Monteverdi
or Artusi. Perhaps you could specify?
Howard
You might still have Margo Schulter's message with the info. I have deleted
all of them...
RT
Roman wrote:
Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
musicians to tune in ET, for which he suffered criticism from a gentleman
named Artusi.
I wrote:
I ... can't find any reference to equal temperament from either Monteverdi
or Artusi. Perhaps you
Martin Shepherd:
And ET is not indispensable for modulation - as I hoped I had made clear,
it is just one of many temperaments which allow modulation to any key. It
also has the unfortunate effect of making all keys sound the same, and
therefore largely removes the point of modulating in
Roman wrote:
Monteverdi operas modulate sufficiently for Claudio M. to have him ask his
musicians to tune in ET, for which he suffered criticism from a gentleman
named Artusi.
I wrote:
I ... can't find any reference to equal temperament from either Monteverdi
or Artusi. Perhaps you could
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