At 06:01 AM 3/31/2006, Ed Durbrow wrote:
>Okay. Good example. Got it.
>I thought the point that was being made was that it was impossible to
>have them the same in both instruments. If the keyboard player set
>his meantone to all flats, for example, and the lute did likewise, I
>don't see where the
At 02:19 AM 3/29/2006, LGS-Europe wrote:
>Again, you seem to be mixing theory (it is impossible to tune a guitar or
>lute in an unequal temperament) with practice (we have to play together with
>Werckmeister harpsichords)...
>In near as well as remote keys in unequal temperaments, if there are note
- Original Message -
From: Howard Posner <[EMAIL PROTECTED]>
Date: Tuesday, March 28, 2006 8:07 pm
Subject: [VIHUELA] Re: Meantone temperament
>
> This may be correct as a matter of mathematics, but it doesn't
> work
> like this in the real world. Most of
Eugene C. Braig IV wrote:
> you still can't truly fret any instrument to any
> temperament scheme other than roughly equal temperament without
> tastini or
> some other device for sectioning frets.
This may be correct as a matter of mathematics, but it doesn't work
like this in the real world.
At 05:12 AM 3/28/2006, LGS-Europe wrote:
>Of course, but we have to play together with keyboards, and think of
>something not to be _too_ out of tune with them. |-(
>So it's worth trying such temperaments on our continuo lutes.
A fretted instrument can never quite be in tune with a keyboard witho
Am 27 Mar 2006 um 13:52 hat Eugene C. Braig IV geschrieben:
> At 01:20 PM 3/27/2006, [EMAIL PROTECTED] wrote:
> >Of course. The thing is that not all equal temperaments are equal,
>
> Of course indeed.
>
>
> >...so citing from historic sources proofes nothing as long as the
> >mathematical stuf
At 01:20 PM 3/27/2006, [EMAIL PROTECTED] wrote:
>Of course. The thing is that not all equal temperaments are equal,
Of course indeed.
>...so citing from historic sources proofes nothing as long as the
>mathematical stuff is included.
I'm not certain what you mean here.
Best,
Eugene
To get
Of course. The thing is that not all equal temperaments are equal, so citing
from
historic sources proofes nothing as long as the mathematical stuff is included.
Regards,
Stephan
Am 27 Mar 2006 um 10:13 hat Eugene C. Braig IV geschrieben:
> At 06:31 AM 3/26/2006, [EMAIL PROTECTED] wrote:
> >
At 06:31 AM 3/26/2006, [EMAIL PROTECTED] wrote:
>(Sorry for the crossposting, but this seems to be a two-list-thread.)
>
>I'd like to take the oppurtunity to once again point out Bradley Lehman's
>Bach-tuning,
>which can be studied at http://www.larips.com ...
I like Mr. Lehman's work, however i
(Sorry for the crossposting, but this seems to be a two-list-thread.)
I'd like to take the oppurtunity to once again point out Bradley Lehman's
Bach-tuning,
which can be studied at http://www.larips.com
According to his argumentation, equal could well have meant to be
_equal-sounding_
in sever
(Sorry for the crossposting, but this seems to be a two-list-thread.)
I'd like to take the oppurtunity to once again point out Bradley Lehman's
Bach-tuning,
which can be studied at http://www.larips.com
According to his argumentation, equal could well have meant to be
_equal-sounding_
in sever
On Sat, 25 Mar 2006 11:52:58 -0500 "Roman Turovsky"
<[EMAIL PROTECTED]> writes:
> Howard wrote:
> >> Equal
> >> temperament pretty much destroys this expressive effect. Most
> >> baroque music is in one of the simpler keys (i.e. few sharps or
flats
> You forgot the modifier EARLY. In the later
12 matches
Mail list logo
