Dear all,
this came back with a strange formating, so I send it again. My apologies!
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
> The meantone was likelier in a church setting, because the organ might
> have
> stilll be tuned that way. The opera had no organ
Stephan,
If I might interject a practical performance note: whilst some of the solo
repertoire may well benefit from a form of meantone temperament (although as
Roman points out this is very much a moot point by the mid 18thC), continuo
playing in works such as later operas requires ranging a
Note: forwarded message attached.
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>> The majority of music was simply out of tune most
>> of the time, and badly played too.
> Which, by the way, is still true 8^))
>
> Francesco
Yep, 'fraid so. "Le Dame Stuzzicanti" come to mind..
RT
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> The majority of music was simply out of tune most
> of the time, and badly played too.
Which, by the way, is still true 8^))
Francesco
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>>> The meantone was likelier in a church setting, because the organ might
>>> have
>>> stilll be tuned that way. The opera had no organ, therefore no meantone.
>>> By
>>> 1700 opera would modulate sufficiently to forget about meantone.
>> From the semitone entry in the New Grove, copied from
>> ht
>> The meantone was likelier in a church setting, because the organ might
>> have
>> stilll be tuned that way. The opera had no organ, therefore no meantone.
>> By
>> 1700 opera would modulate sufficiently to forget about meantone.
> From the semitone entry in the New Grove, copied from
> http://ww
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
> The meantone was likelier in a church setting, because the organ might
> have
> stilll be tuned that way. The opera had no organ, therefore no meantone.
> By
> 1700 opera would modulate sufficiently to forget ab
I always thought that the problems are:
1. to get the minor third between the first and second/fourth and fifth
courses into the tuning system and
2. doubling A-d-f in the high octave means doubling the trouble with
tastinis and eliminating the possibility of slanting the f
Am Thu, 10 Mar 2005 07:35:19 -0500 schrieb Roman Turovsky
<[EMAIL PROTECTED]>:
>>> I always thought that the problems are:
>>> 1. to get the minor third between the first and second/fourth and fifth
>>> courses into the tuning system and
>>> 2. doubling A-d-f in the high octave means doubling th
>> I always thought that the problems are:
>> 1. to get the minor third between the first and second/fourth and fifth
>> courses into the tuning system and
>> 2. doubling A-d-f in the high octave means doubling the trouble with
>> tastinis and eliminating the possibility of slanting the frets.
>> A
Am Wed, 09 Mar 2005 11:04:14 +0100 schrieb Stephan Olbertz
<[EMAIL PROTECTED]>:
> I always thought that the problems are:
> 1. to get the minor third between the first and second/fourth and fifth
> courses into the tuning system and
> 2. doubling A-d-f in the high octave means doubling the tro
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