[VIHUELA] Re: Palmer orpharion images
Thanks for this. I would tune the open strings in relation to each other and not by using the fingerboard which would be rather begging the question. I believe this sort of analysis is extremely valuable especially since many (not you of course) who claim to use some form of 'meantone' tuning only ever look at the first course and seem blissfully unaware that the chromatic/diatonic sequence is different on different courses! Martyn Alexander Batov [EMAIL PROTECTED] wrote: On Tuesday, November 27, 2007 4:11 PM Martyn Hodgson wrote: It would be of further interest to do this for each course so as to see the different chromatic/diatonic semitone relationships between all the courses. I agreed first, but I'm not sure if this is actually necessary and / or whether it gives you any 'enhanced' picture of chromatic / diatonic relationships ... For example it would depend how you tune intervals between open courses: by unisons from the fingerboard, from other fixed-pitch instruments or, indeed, from the tuner and, either to pure intervals or with deviations. Alexander To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - Yahoo! Answers - Get better answers from someone who knows. Tryit now. --
[VIHUELA] Re: Palmer orpharion images
It seemed OK when I received it, but it corrupted when I enclosed it in my reply to you! I get these sort of problems when answering emails - the page format suddenly changes for no apparent reason. MH Alexander Batov [EMAIL PROTECTED] wrote: I do apologize to everybody again. It's sort of ridiculous: I did the whole message and the table separately all in Courier and it still wouldn't work, I'm getting back corrupted table again (although it works fine if I sent it to myself). I give up ... Stewart, help! Alexander -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - For ideas on reducing your carbon footprint visit Yahoo! For Good this month. --
[VIHUELA] Re: Palmer orpharion images
I guess it's not surprising that the fret settings of the 1st and 6th course are close since they're supposed to be a double diapason (2 octaves) apart. It would be of great interest to do this sort of analysis for each course so as to see the how the different chromatic/diatonic semitone relationships between all the courses are dealt with (or not); have you done this by any chance and if so cld you kindly give the results? MH lexander Batov [EMAIL PROTECTED] wrote: Palmer orpharion: fret positions and their corresponding temperaments. The + sign shows which temperament each individual fret position is closest to. It is assumed that the first course is tuned to the nominal G (which should not be confused with the absolute pitch!) and that the following sequence of chromatic and diatonic semitones is produced when it is fingered on 1st to 11th frets: g#, a, b-flat, b, c, c#, d, e-flat, e, f, f# (* sign signifies if a-flat is chosen instead of g#). As for the bass side of the fingerboard, one would need a full-size drawing to determine fret distances along the line of the 6th course. So the calculations are made following the same sequence of intervals (i.e. as for the first course), as well as on the assumption that the 6th course is there instead of the 9th. The results show how far from any fixed arrangement fret positions are, which is, in a way, hardly surprising. At the same time, fret positions on both the treble and bass sides are fairly congruous (with the exception perhaps for the 7th fret). TREBLE BASS frets 1/4 1/5 1/6 1/8 equal 1/4 1/5 1/6 1/8 equal 1 * + * + -- 2 + + -- 3 + + -- 4 + + -- 5 + + -- 6 + + -- 7 + + -- 8 + + -- 9 + + -- 10 + + -- 11 + + -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - Yahoo! Answers - Get better answers from someone who knows. Tryit now. --
[VIHUELA] Re: Palmer orpharion images
It would be of further interest to do this for each course so as to see the different chromatic/diatonic semitone relationships between all the courses. Alexander Batov [EMAIL PROTECTED] wrote: Palmer orpharion: fret positions and their corresponding temperaments. The + sign shows which temperament each individual fret position is closest to. It is assumed that the first course is tuned to the nominal G (which should not be confused with the absolute pitch!) and that the following sequence of chromatic and diatonic semitones is produced when it is fingered on 1st to 11th frets: g#, a, b-flat, b, c, c#, d, e-flat, e, f, f# (* sign signifies if a-flat is chosen instead of g#). As for the bass side of the fingerboard, one would need a full-size drawing to determine fret distances along the line of the 6th course. So the calculations are made following the same sequence of intervals (i.e. as for the first course), as well as on the assumption that the 6th course is there instead of the 9th. The results show how far from any fixed arrangement fret positions are, which is, in a way, hardly surprising. At the same time, fret positions on both the treble and bass sides are fairly congruous (with the exception perhaps for the 7th fret). TREBLE BASS frets 1/4 1/5 1/6 1/8 equal 1/4 1/5 1/6 1/8 equal 1 * + * + -- 2 + + -- 3 + + -- 4 + + -- 5 + + -- 6 + + -- 7 + + -- 8 + + -- 9 + + -- 10 + + -- 11 + + -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - Yahoo! Answers - Get better answers from someone who knows. Tryit now. --
