This won't work with most children guitars (and their strings) I know :-)
I tune in octaves in the first position, that's where they play, anyway.
Regards
Stephan
Am 24.01.2012, 13:18 Uhr, schrieb Ron Andrico <praelu...@hotmail.com>:
Since I teach guitar, like many others on this list, I have developed
an easy method for tempering the tuning, and an explanation to go
along
with it. I get an 'A' from some reliable source and tune the 5th
string as a natural harmonic at the 5th fret. I match and
double-check
with the first string fretted at the fifth fret. I then match that
same 'A' on all the other strings (second string, 10th fret, third
string, 14th fret, matching harmonics, etc.). I then tune the 'G' on
the first string on the third fret to match the third string harmonic
at the 12th fret, second string 'D' on the third fret to match the
fourth string harmonic at the 12th fret. This method seems to achieve
an equal temperament on nearly any guitar with reasonably accurate
fretting. It takes care of the second string problem of acting as a
perfect fifth to the 'E' as an open string, and as a perfect fifth to
the 'G' when fretted at the third fret. At least it seems simple to
me, and my students just nod and act like they understand.
RA
> Date: Tue, 24 Jan 2012 11:39:51 +0000
> To: gor...@gordongregory.co.uk
> CC: lute@cs.dartmouth.edu
> From: willsam...@yahoo.co.uk
> Subject: [LUTE] Re: Guitar temperament
>
> Hi,
>
> I haven't read Duffin's book, but I can appreciate how people
imagine
> they're using equal temperament when they aren't.
>
> Good guitarists, despite the fact that their frets are evenly
> spaced, will tweak their tuning before they start performing a
piece,
> to ensure than the more important chords and intervals in the piece
> sound 'good'. Simply using an electronic tuner for the open strings
> doesn't give you the pleasing quality that's provided by these final
> adjustments.
>
> Lutenists have even more latitude because of the possibility of
moving
> the frets around - but the fact that frets are evenly spaced doesn't
> mean that you are locked into equal temperament. It would
> be impossible to pin a label (quarter comma, Werkmeister whatever
and
> so on) on the kind of temperament you get from tuning the important
> intervals to sound right, but it ain't necessarily 'equal'. It's
more
> of a 'season to taste' sort of temperament that depends on the ear
of
> the performer rather than any theory of intervals.
>
> Interesting stuff.
>
> Bill
> From: Gordon Gregory <gor...@gordongregory.co.uk>
> To: Lute List <lute@cs.dartmouth.edu>
> Sent: Tuesday, 24 January 2012, 10:49
> Subject: [LUTE] Re: Guitar temperament
> Hi,
> I read and enjoyed Duffin's book, particularly the discussions about
> how
> many 19th century tuners and performers claimed they used equal
> temperament,
> but actually used their own special flavours of unequal (and that
> accurate
> equal temperament only became common on keyboards in 1915 or so).
> Where I was disappointed was his failure in my mind address the
other
> parts
> of his title " -- ruined harmony (and why it matters)". I was hoping
> for
> comment and further explanation of the different characters the most
> common
> chords in the popular keys, e.g. why Mozart, Haydn et al used Eb and
D
> for
> specific special effects. I felt he did not really attempt that part
of
> his
> project.
> Regards, Gordon
> -----Original Message-----
> From: [1]lute-...@cs.dartmouth.edu
> [mailto:[2]lute-...@cs.dartmouth.edu] On Behalf
> Of Roland Hogman
> Sent: 23 January 2012 18:39
> To: Stewart McCoy
> Cc: Lute Net
> Subject: [LUTE] Re: Guitar temperament
> Hello!
> For a nice introduction to the subject: How equal temperament ruined
> harmony by Ross W. Duffin ISBN 978-0-393-33420-3 (paperback)
> All the best!
> Roland Hogman
> 2012/1/19 Stewart McCoy <[1][3]lu...@tiscali.co.uk>
> Dear Dominic,
> It has to be equal temperament.
> The question of temperament crops up from time to time on this
> list,
> and
> some subscribers have expressed strong views either for or against
> having fretted instruments in equal temperament. Our debate echoes
> the
> same debate musicians had during the 16th and 17th century.
> Those in favour of unequal temperament will refer to evidence such
> as:
> 1) 16th-century vihuela players moving the 4th fret for the sake of
> pieces in flat keys, e.g. Luis Milan in 1536;
> 2) Christopher Simpson's _Compendium_ in 1667 describing how some
> viol
> players and theorbo men had an extra first fret on their
> instrument.
> Those in favour of equal temperament will refer to:
> 1) Galilei espousing equal temperament for lutes in 1582 with his
> 18:17
> ratio for the placing of frets;
> 2) Praetorius stating unequivocally in 1619 that lutes and viols
> were
> fretted in equal temperament.
> Much of the evidence may be found in Mark Lindley's excellent
> _Lutes,
> Viols & Temperaments_ (Cambridge: Cambridge University Press,
> 1984).
> One
> may fairly quibble about his dubious conclusion that Valderrabano
> must
> have used equal temperament (page 22), but there is a wealth of
> information on the subject supporting both sides of the argument.
> Your evidence derived from Bartolotti is an important contribution
> to
> the debate, and adds weight to the argument that baroque guitars
> were
> fretted in equal temperament.
> Best wishes,
> Stewart McCoy.
> -----Original Message-----
> From: [2][4]lute-...@cs.dartmouth.edu
> [mailto:[3][5]lute-...@cs.dartmouth.edu] On
> Behalf Of Dominic Robillard
> Sent: 18 January 2012 23:12
> Cc: lute list lute list
> Subject: [LUTE] guitar temperament
> Hi luters,
> Bartolotti starts with a passacaille in book I. Each passacaille
> modulates to a different key. Was he ahead of Wagner? Were
> performers
> of passacailles through all keys allowed to stop to tune, and
> change
> fret spacing within a work? Was that okay and normal for the
> audience?
> Was there an audience? Equal temperament sounds so bad, it just
> can't
> be.
> I refuse to stop using meantone, 1/6, but I can't seem to get
> passed
> the 4th fret on my guitar. How many tastinos will it take? I
> was
> told
> by pros, including Stubbs, that things get looser up there, but I
> think
> that is just continuo talk. Even playing Sanz doesn't pan out,
> can
> anyone help?
> Dominic
> --
> To get on or off this list see list information at
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> --
> /Roland
> --
> References
> 1. mailto:[7]lu...@tiscali.co.uk
> 2. mailto:[8]lute-...@cs.dartmouth.edu
> 3. mailto:[9]lute-...@cs.dartmouth.edu
> 4. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --
>
> References
>
> 1. mailto:lute-...@cs.dartmouth.edu
> 2. mailto:lute-...@cs.dartmouth.edu
> 3. mailto:lu...@tiscali.co.uk
> 4. mailto:lute-...@cs.dartmouth.edu
> 5. mailto:lute-...@cs.dartmouth.edu
> 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 7. mailto:lu...@tiscali.co.uk
> 8. mailto:lute-...@cs.dartmouth.edu
> 9. mailto:lute-...@cs.dartmouth.edu
> 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
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