Path: utzoo!attcan!utgpu!jarvis.csri.toronto.edu!mailrus!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!samsung!uunet!zephyr.ens.tek.com!tektronix!sequent!mes From: mes@sequent.UUCP (Mike Seyfrit) Newsgroups: comp.music Subject: Re: New tunings [was Re: Eliminating the octave] Keywords: Intonation systems, octaves, tuning systems Message-ID: <24567@sequent.UUCP> Date: 8 Nov 89 21:22:09 GMT References: <3068@husc6.harvard.edu> <6335@merlin.usc.edu> Reply-To: mes@crg3.UUCP (Mike Seyfrit) Organization: Sequent Computer Systems, Inc Lines: 30 Re: equal temperament systems, etc. Actually, most "equal" temperment tunings are actually off to some degree anyhow, if they are laid out by ear. I have both seen and done some research showing that most piano tunings that attempt to be equal tempered are actually not quite so equal. In fact, many piano or other keyboard instrument tuners frequently slant their tunings purposely in some way, for instance, making the b-f# fifth slightly rougher than the rest. Another thing about tuning systems is that in concert performance of say, 18th and 19th century works that involve piano, strings, winds, the tuning is actually quite dynamic. A c natural in one context is not the same a moment later. This depends partially on the context (ie, what part of the chord the note represents) and partially on the perceived motion of the harmony (ie where the note is in relation to the prevailing key). Additionally, we all make minute allowances so that prominant intervals, particularly when played without other supporting harmony, are as beat-free as possible. I really think that we should seldom speak of "equal temperaments", but, I guess like Jorgensen or others, "well" or "good" ones. those (in many views) would be those in which all keys can be played in, though they might not be the same. That could include the Vallotti, Young 1800, Werkmeister, and many others. Then we could speak about the "on-the-fly" alterations on each of these caused by playing "in tune" with the prevailing harmony, and only then do we have a picture of what is really happening in any context other than computer-generated scales performed by fixed-pitch instruments. -- ===== Mike Seyfrit phone:503-241-4121 | \ mail:625 NW Everett #228 = net:{uunet,sun,tektronix)!sequent!mes | \ Portland, OR, 97209 = ===== org: Sequent Computers, Beaverton, OR | / \ =======================