Kellner bp.

[Jim]

Hi Paul:

I thought you might like to know that the principal Organ Professor
here at ASU is quite knowledgeable about the Kellner variation which
is so close to yours, and I'm just so glad that you were able to
work your version out completely independant of other's work.
I'm proud to have you as one of my mentors in this area.  I'm
planning to put your HG on my Steinway and leave it there for awhile
till I can begin to appreciate its nuances.  Originally when I
put it on, I was more interested in the evenness of mild Well
temperaments.  Now, I'm going to try to be a little braver.

Jim Coleman, Sr.

PS It is interesting to look at the graph of the HG and the Well
Meant temperaments. On the RCT I have them next to each other in my
User Temperaments folder. Now that I know how to switch back and
forth using the apple-arrow keys I can see the difference graphically
much more easily.  JWC

On Wed, 19 Feb 1997, Paul N. Bailey wrote:

>
>
>
> Hi,Richard
>         I don't think of Kellner's temperament as "for
> Bach only". I use it on many of the pianos I tune, half
> or more. What I almost never tune is equal temperament.
> Sometimes I tune mild or 'victorian' well temperament,
> and sometimes I tune 1/7 syntonic comma meantone, or a
> 'stronger' meantone, when the client requests it (which
> some of them do!).
>
>         Think of it this way:We were educated to believe
> that J.S.Bach invented equal temperament and everybody's
> used it ever since. So,now that we have a good idea of
> what he did intend as the  temperament of the WTC, what
> could be more appropriate than using that temperament
> as the general purpose temperament, the 'default'
> temperament, if you will?
>
>         The "right" temperament (and tuning,
> but one thing at a time...) has more to do with the
> emotional temperament of the pianist than with the era in
> which the music was written. Werckmeister is credited as
> the first to describe well temperament; it's not so
> commonly recognized that he also described modified(ie,
> 'split the wolf' between G#-Eb and Eb-Bb) meantone; and
> something very similar to "victorian'well temperament.
>
>         When we hear the objection that "if you don't
> tune equal temperament, then you have to re-tune for
> every key", we are hearing the suggestion that every
> piece is really in the key of C, but if it happens to
> be notated in some other key signature, then we should
> re-tune the instrument so that (for instance) C will
> be transposed to Ab (or whatever). This misses the point
> of harmony altogether.
>
>                         Paul Bailey
>
>                 -------------------------
> you wrote...
>
>
> >Hi Paul
> >        I just got your snail letter....In Regards to the
> >Elaisson /qbasic program, .....your data from your spread
> >sheet venue appears to agree with Elaisson's data from both
> >the BASIC and pascal programs that he wrote, and also my
> >data from a Microsoft Works spread sheet program for W95.
>
> >         Now to tune, and even if I did, I don't know
> >enough Bach and would have to relearn what I did know .....
>
>
> >Richard
>
>
>