Not all tastes are created equal. RT Sent from my iPhone
> On Jul 20, 2019, at 11:34 AM, Tristan von Neumann <tristanvonneum...@gmx.de> > wrote: > > Roman, "insufferable" temperament does not exist. > > All temperaments are an acquired taste - otherwise you would (and some > people surely did) think the music of Arabia insufferable with its 3/4 > tones. > > Or Gamelan ensembles consisting of instruments left to rot and detune > deliberately because it reflects the age of the instrument. > > > > > >> On 20.07.19 16:45, r.turov...@gmail.com wrote: >> It is a lot more harrowing to hear the minor 3rds that are too wide, >> resulting from various masochistic temperaments. >> >> And the use of the latter in music that contains chromaticism is simply >> insufferable. >> RT >> >> ==== >> http://turovsky.org >> Feci quod potui. Faciant meliora potentes. >> >>> On Jul 20, 2019, at 10:28 AM, Matthew Daillie <dail...@club-internet.fr> >>> wrote: >>> >>> It has been well-documented that the instructions published by Robert >>> Dowland in the Varietie of Lute Lessons are critically flawed (see Lindley >>> pp. 81-83). >>> >>> It is highly probable that something close to equal temperament was used >>> during the renaissance period but so were several variants of meantone >>> temperament. The latter favours pure major thirds and creates major and >>> minor semitones with far more character than equal temperament, notably for >>> the many chromatic passages prevalent in renaissance music. I think a >>> deeper understanding of temperaments is a prerequisite for playing early >>> music and much can be learned by looking at how other instruments were >>> tuned. 1/4 comma meantone was clearly used on early keyboards and it would >>> be pretty unthinkable today to listen to a performance of 16th century >>> Italian music or the English virginalists in equal temperament (obviously >>> as we move into the baroque period, circulating temperaments were adopted >>> that favoured purer fifths rather than pure major thirds). >>> >>> When one gets used to playing a piece in 1/4 comma meantone with its pure, >>> beatless major thirds, it can be quite a harrowing experience to go back to >>> equal temperament as one is conscious of just how much crucial intervals >>> beat and everything appears to be out of tune. It is not necessarily easy >>> to adapt meantone successfully to the lute, but it can be done with time >>> and careful adjustments of frets and the addition of tastini. 1/5 comma >>> meantone is quite popular amongst major lutenists and although the thirds >>> are no longer pure, it does impart far more character than equal >>> temperament and does not require such extreme fret placement (which can be >>> particularly uncomfortable on the short string length of a lute in a', for >>> example). If one has access to an early keyboard and the help of an >>> experienced player, it can be easier to appreciate the fundamentals of >>> various temperaments than on the lute (metal strings facilitate the >>> detection of beatless intervals). >>> >>> Rather than being a daunting prospect, the use of meantone temperaments on >>> the lute can add further enjoyment to one's playing and enrich our musical >>> world. >>> >>> Best, >>> >>> Matthew >>> >>> >>>> Le 20 juil. 2019 à 13:22, Ron Andrico <praelu...@hotmail.com> a écrit : >>>> >>>> Tristan, the various alternative temperaments may sound nice for a >>>> narrow repertory with the excepted odd note, but musicians who >>>> understand music and who explore the more interesting repertory for >>>> lute follow the precepts of Galilei, which approximates equal >>>> temperament. >>>> >>>> RA >>>> __________________________________________________________________ >>>> >>>> From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf >>>> of Tristan von Neumann <tristanvonneum...@gmx.de> >>>> Sent: Friday, July 19, 2019 4:04 PM >>>> To: lute@cs.dartmouth.edu <lute@cs.dartmouth.edu> >>>> Subject: [LUTE] Lute Temperaments >>>> >>>> I know this is a wide topic... >>>> Today, I changed my fret setup from Gerle to Dowland (Thanks to Mr. >>>> Niskanen and his marvellous calculator), because I mostly play later >>>> 16th century music. >>>> It sounds somewhat "brighter" in the keys preferred then. >>>> Maybe I will also try what Galilei recommended. >>>> Which one did you try and which one do you prefer (for solo playing). >>>> What are your thoughts on character vs. versatility? >>>> To get on or off this list see list information at >>>> [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>>> >>>> -- >>>> >>>> References >>>> >>>> 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >>> >>> >> >> > >
