The mail demon cannot handle html mails properly!
Rainer
On 13.05.2018 16:11, Martyn Hodgson wrote:
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The link to Otterstedt's important review which I put at the end of my earlier
message does not seem to have come through. Here it is again in two
versions.................
MH
----- Forwarded Message -----
From: Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>
To: Andreas Schlegel <lute.cor...@sunrise.ch>; Lutelist Net
<lute@cs.dartmouth.edu>
Sent: Sunday, 13 May 2018, 10:57
Subject: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
Dear Andreas,
Yes - Otterstedt's very fine review of Dolata's book in Early Music (December
2017) does indeed present a very welcome demolition of the current modern
fashion for promoting meantone tunings on the lute. It was also brave since, as
she pointed out, 'Not moving with the tide can wreck a career, for the pressure
to conform in 'early music' is great' .
The knowledge that some unequal tunings can result in sweeter thirds has made
many make a wholly illogical jump to then asserting that lutes must therefore
have been fretted in a way to allow this - without any proper understanding of
the actual historical evidence and of the very real practical problems
associated with this idea.
I think the matter is important, so I hope you won't mind me copying this reply
to the wider list.
regards,
Martyn
From: Andreas Schlegel <lute.cor...@sunrise.ch>
To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Sent: Saturday, 12 May 2018, 9:26
Subject: Re: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND
SEVENTEENTH,CENTURIES
Dear Martyn,
Thanks for your clear words!Here's the review of Annette Otterstedt (Lyra viol
and Viola da Gamba expert, formerely Institut für Musikforschung, Berlin) on
Dolata’s book.Some very important thoughts, I think!
All the best,
Andreas
PS: By the way: Accords nouveaux and not equal temperament is really difficult…
But if nobody is playing this repertory which was the standard repertory for
solo literature for at least one generation, it’s clear that this argument
can’t be seen from our turbo-meantone-fret-movers. And: With the standard
double frets, it’s much more difficult…In short: Let beside all the topics
which can be dangerous for your hypothesis - and your hypothesis is much more
true!
Am 12.05.2018 um 10:12 schrieb Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu>:
Thank you for this Ranier.
I think we need to be very careful before accepting this (and similar
plugs for non-equal temperament on plucked fretted instruments) as a
wholly authoritative work on lute temperaments in the 16th & 17th Cs
and which should, according to the author, be generally adopted in
modern times.
The dismissal of equal temperament, despite its clear advocacy in many
early sources (see Lindley et al), seems largely to be founded on a
prior prejudicial belief by the author that some form of unequal
(probably meantone) temperament was the norm on lutes. Of course, a
meantone tuning, if practicable, does indeed produce some more
harmonious intervals (thirds in particular) than equal temperament and
for keyboard instruments, where each semitone can be individually
tempered, such a temperament was and is common. But on fretted
instruments, where a fret has to serve for both chromatic and diatonic
intervals, this can not always be the case.
In advocating some general unequal temperament on the lute, the paper
has recourse to the chimera of 'tastini' (and/or constant fret
adjustments) which not only fail to be seen in the overwhelming
majority of early representations, but were actively disparaged at the
time (eg Galilei). The problems of tempering any fretted instrument are
also evidenced very graphically in General Thompson's 1829 proposal for
an enharmonic guitar (also one by Lacote) requiring around 300
different fret positions on the fingerboard - which then had to be
reset on change of key..... Similarly the idea that logarithms were
absolutely necessary before the calculation of equal intervals to any
reasonable degree of accuracy is simply not the case.
Failure to consider temperament on similar plucked fretted instruments
also presents potential bias in the paper. For example the use of
sliding chord shapes on the early guitar (and to some extent the
theorbo) necessarily requires a fretting pattern close to equal
temperament. Similarly the focus on the 'old' lute tuning, ignores the
special considerations which must be made for the new lute tunings
(especially the Dm tuning) which require very good unison tuning to the
next higher open course on three adjacent frets (third, fourth and
fifth) - as frequently found in compositions for these instruments.
No doubt in practice some fret adjustment may well have been made to
sweeten the most awkward intervals in a particular piece or set/suite
(for example to temper some common thirds) but to present this sort of
thing as a proven case for the use of a formal general meantone
temperament is, I suggest, misleading.
Nevertheless, the paper does include some helpful information as well
as another personal perspective. It is yet another useful addition to
the expanding number of views about lute temperament, but one which I
think needs to be itself tempered by a degree of healthy but positive
scepticism..........
regards,
Martyn
__________________________________________________________________
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<html><head></head><body><div style="color:#000; background-color:#fff; font-family:Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;font-size:13px"><div id="yui_3_16_0_ym19_1_1526209513144_77131"><span id="yui_3_16_0_ym19_1_1526209513144_77187">The link to Otterstedt's important review which I put at the end of my earlier message
does not seem to have come through. </span> Here it is again in two versions.................</div><div id="yui_3_16_0_ym19_1_1526209513144_77131"><span><br></span></div><div id="yui_3_16_0_ym19_1_1526209513144_77131"><span>MH</span></div><div
class="qtdSeparateBR"><br><br></div><div class="yahoo_quoted" id="yui_3_16_0_ym19_1_1526209513144_76749" style="display: block;"> <div style="" id="yui_3_16_0_ym19_1_1526209513144_76748"> <div style="" id="yui_3_16_0_ym19_1_1526209513144_76747"> <div dir="ltr"
id="yui_3_16_0_ym19_1_1526209513144_76746" style=""> <font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida !
Grande, sans-serif" style="" size="2" id="yui_3_16_0_ym19_1_1526209513144_76915"><font id="yui_3_16_0_ym19_1_1526209513144_76750" style=""> <br id="yui_3_16_0_ym19_1_1526209513144_76913">----- Forwarded Message -----<br> <b style=""><span style="font-weight:bold;">From:</span></b> Martyn Hodgson <hodgsonmar...@cs.dartmouth.edu><br>
<b style=""><span style="font-weight: bold;">To:</span></b> Andreas Schlegel <lute.cor...@sunrise.ch>; Lutelist Net <lute@cs.dartmouth.edu> <br> <b style=""><span style="font-weight: bold;">Sent:</span></b> Sunday, 13 May 2018, 10:57<br> <b style="" id="yui_3_16_0_ym19_1_1526209513144_77130"><span style="font-weight:
bold;" id="yui_3_16_0_ym19_1_1526209513144_77129">Subject:</span></b> [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH,CENTURIES<br> </font> </font></div> <div class="y_msg_container" id="yui_3_16_0_ym19_1_1526209513144_76757" style=""><div dir="ltr" id="yui_3_16_0_ym19_1_1526209513144_76758" !
style=""><br></div><div dir="ltr" style="" id="yui_3_16_0_ym19!
_1!
_1526209513144_77090"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">Dear Andreas,<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77090"><font face="HelveticaNeue,
Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br></font></div><div dir="ltr" id="yui_3_16_0_ym19_1_1526209513144_76762" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"
id="yui_3_16_0_ym19_1_1526209513144_77087">Yes - Otterstedt's very fine review of Dolata's book in Early Music (December 2017) does indeed present a very welcome demolition of the current modern fashion for promoting meantone tunings on the lute. It was also brave since, as she pointed out, 'Not moving with the tide can wreck a
career, for the pressure to conform in 'early music' is great' . <br></font></div><div dir="ltr" id="yui_3_16_0_ym19_1_1526209513144_76762" style=""><!
font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br></font></div><div dir="ltr" id="yui_3_16_0_ym19_1_1526209513144_76763" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida
Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77100">The knowledge that some unequal tunings can result in sweeter thirds has made many make a wholly illogical jump to then asserting that lutes must therefore have been fretted in a way to allow this - without any proper understanding of
the actual historical evidence and of the very real practical problems associated with this idea.<br></font></div><div dir="ltr" id="yui_3_16_0_ym19_1_1526209513144_76763" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77103"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Gra!
nde, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_!
77102">I
thi!
nk the matter is important, so I hope you won't mind me copying this reply to the wider list.<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77103"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_77104"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77125">regards,<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77104"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"><br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77105"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">Martyn<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77120"><font
face="HelveticaNeue, !
Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78731"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> </font></div><div dir="ltr" style=""><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> From: Andreas Schlegel <<a ymailto="mailto:lute.cor...@sunrise.ch"; href="mailto:lute.cor...@sunrise.ch";>lute.cor...@sunrise.ch</a>><br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"> To: Martyn Hodgson <<a ymailto="mailto:hodgsonmar...@yahoo.co.uk"; href="mailto:hodgsonmar...@yahoo.co.uk";>hodgsonmar...@yahoo.co.uk</a>> <br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> Sent: Saturday, 12 May 20!
18, 9:26<br></font></div><div dir="ltr" style=""><font face="H!
elveticaN
eue!
, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> Subject: Re: [LUTE] Re: LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH,CENTURIES<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2"> <br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78686"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">Dear Martyn,<br></font></div><div dir="ltr"
style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">Thanks for your clear words!Here's the review of Annette Otterstedt (Lyra viol and Viola da Gamba expert, formerely Institut für Musikforschung, Berlin) on Dolata’s book.Some very important thoughts, I
think!<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" si!
ze="2">All the best,<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">Andreas<br></font></div><div
dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78688"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78687">PS: By the way: Accords nouveaux
and not equal temperament is really difficult… But if nobody is playing this repertory which was the standard repertory for solo literature for at least one generation, it’s clear that this argument can’t be seen from our turbo-meantone-fret-movers. And: With the standard double frets, it’s much more
difficult…In short: Let beside all the topics which can be dangerous for your hypothesis - and your hypothesis is much more true!<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-ser!
if" size="2"><br></font></div><div dir="ltr" style="" id="yui_!
3_16_0_ym
19_!
1_1526209513144_78712"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"><br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78711"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2"><br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78709"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78710">Am 12.05.2018 um 10:12 schrieb Martyn Hodgson <<a
ymailto="mailto:hodgsonmar...@cs.dartmouth.edu"; href="mailto:hodgsonmar...@cs.dartmouth.edu";>hodgsonmar...@cs.dartmouth.edu</a>>:<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77072"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"
id="yui_3_16_0_ym19_1_1526209513144_77071"> Thank you for this Ranier.<br></font><!
/div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78698"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> I think we need to be very careful before accepting this (and similar<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_78720"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78719"> plugs for non-equal temperament on plucked fretted instruments) as a<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_78690"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> wholly authoritative work on lute temperaments in the 16th & 17th Cs<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif" size="2"> and which shoul!
d, according to the author, be generally adopted in<br></font>!
</div><di
v d!
ir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> modern times.<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> The dismissal of
equal temperament, despite its clear advocacy in many<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> early sources (see Lindley et al), seems largely to be founded on a<br></font></div><div dir="ltr" style=""><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> prior prejudicial belief by the author that some form of unequal<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> (probably meantone)
temperament was the!
norm on lutes. Of course, a<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> meantone tuning, if practicable, does indeed produce some more<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_78628"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78627"> harmonious intervals (thirds in particular) than equal temperament and<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_78691"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> for keyboard instruments, where each semitone can be individually<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78692"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" siz!
e="2"> tempered, such a temperament was and is com!
mon. But
on !
fretted<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78693"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> instruments, where a fret has to serve for both chromatic and diatonic<br></font></div><div dir="ltr"
style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> intervals, this can not always be the case.<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> In advocating
some general unequal temperament on the lute, the paper<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> has recourse to the chimera of 'tastini' (and/or constant fret<br></font></div><div dir="ltr" style=""><font
face="HelveticaNeue, Helvetica Neue, Hel!
vetica, Arial, Lucida Grande, sans-serif" size="2"> adjustments) which not only fail to be seen in the overwhelming<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> majority of early representations,
but were actively disparaged at the<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> time (eg Galilei). The problems of tempering any fretted instrument are<br></font></div><div dir="ltr"
style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> also evidenced very graphically in General Thompson's 1829 proposal for<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2"> an enharmonic guitar (also one by Lacote) req!
uiring around 300<br></font></div><div dir="ltr" style="" id="!
yui_3_16_
0_y!
m19_1_1526209513144_78722"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78721"> different fret positions on the fingerboard - which then had to be<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_78724"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78723"> reset on change of key..... Similarly the idea that logarithms were<br></font></div><div dir="ltr"
style="" id="yui_3_16_0_ym19_1_1526209513144_78726"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_78725"> absolutely necessary before the calculation of equal intervals to any<br></font></div><div
dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78694"><font face="HelveticaNeue, Helvetica Ne!
ue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> reasonable degree of accuracy is simply not the case.<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78695"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2">
Failure to consider temperament on similar plucked fretted instruments<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_78696"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> also presents potential bias in the paper. For
example the use of<br></font></div><div dir="ltr" style=""><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> sliding chord shapes on the early guitar (and to some extent the<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_77067"><font face="HelveticaNeue, Helvetica Neue,!
Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui!
_3_16_0_y
m19!
_1_1526209513144_77066"> theorbo) necessarily requires a fretting pattern close to equal<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77027"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"
id="yui_3_16_0_ym19_1_1526209513144_77026"> temperament. Similarly the focus on the 'old' lute tuning, ignores the<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77069"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2" id="yui_3_16_0_ym19_1_1526209513144_77068"> special considerations which must be made for the new lute tunings<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77065"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77064"> (especially the Dm tuning) which requi!
re very good unison tuning to the<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77063"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77062"> next higher open course on three adjacent
frets (third, fourth and<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77061"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77060"> fifth) - as frequently found in compositions for these
instruments.<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77388"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77387"> No doubt in practice some fret adjustment may well have been made
to<br></font></div><div dir="ltr" style="" id!
="yui_3_16_0_ym19_1_1526209513144_77059"><font face="Helvetica!
Neue, Hel
vet!
ica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77386"> sweeten the most awkward intervals in a particular piece or set/suite<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77030"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77029"> (for example to temper some common thirds) but to present this sort of<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_77032"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77031"> thing as a proven case for the use of a formal general meantone<br></font></div><div dir="ltr"
style="" id="yui_3_16_0_ym19_1_1526209513144_77034"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_!
3_16_0_ym19_1_1526209513144_77033"> temperament is, I suggest, misleading.<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77036"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"
id="yui_3_16_0_ym19_1_1526209513144_77035"> Nevertheless, the paper does include some helpful information as well<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77038"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2" id="yui_3_16_0_ym19_1_1526209513144_77037"> as another personal perspective. It is yet another useful addition to<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77040"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande,
sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77039"> the expanding number of views about lute temperament,!
but one which I<br></font></div><div dir="ltr" style="" id="y!
ui_3_16_0
_ym!
19_1_1526209513144_77042"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77041"> think needs to be itself tempered by a degree of healthy but positive<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77043"><font
face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77389"> scepticism..........<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77044"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif"
size="2"> regards,<br></font></div><div dir="ltr" style="" id="yui_3_16_0_ym19_1_1526209513144_77045"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2"> Martyn<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_7!
7047"><font face="HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif" size="2" id="yui_3_16_0_ym19_1_1526209513144_77046">
__________________________________________________________________<br></font></div><div dir="ltr" style=""
id="yui_3_16_0_ym19_1_1526209513144_77048"><br></div></div> </div> </div> </div></div></body></html>
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