Tuning meantone

Tuning and Temperament
#1

There’s a post just yesterday here on FB referencing a ‘recent’ paper by @CDV, but I thought this was 2018.

Excellent paper for meantone aficionados.

[I guess you have to have an account on facebook to view that post regarding this paper.]

#2

Thanks Andrew.

I guess this was because, a few days ago, I uploaded to Academia.edu published papers of mine of the last few years that were still not there. Therefore many musicians got notified just now.

Needless to say, there is no need for Facebook to read any paper of mine.

ALL my papers (except those less than 1 years from their publication in print) are accessible for free from Academia.edu .

#3

Of course. I only mean that the FB link has some interesting commentary there.

1 Like
#4

Thanks for the advice, Andrew. I just intervened to agree with Claude Knee’s observation.
There are interesting interventions by B. Lehman. One of them is worth reproducing:
“18th century harpsichordists wouldn’t have looked to organ building books for harpsichord tuning advice, anyway (as I pointed out in last year’s article).”
Interesting indeed. There are two points to note:

  1. Indeed, at least in France, the “ordinaire” used in organs and the variety used in harpsichords and by extension in instrumental music diverged significantly during the 18th c. (see my U.T. Book on “Diverging historical trends in French circular temperaments.”).
  2. Conversely, in most countries in the Baroque era, most harpsichordists were also organists and viceversa. Therefore, outside France (where organ tuners were asked to depart minimally from 1/4 S.c. meantone because of the tierce ranks) harpsichordists would indeed look to organ texts. Werckmeister, after all, wrote for organists and organ-builders, yet he was at the basis for the diffusion of the Wohltemperirte systems used widely on stringed keyboards during the first decades of the 18th c.