Mr. Bremmer, I'm sorry I won't have the opportunity both of meeting you and hearing an example of your temperament at this year's convention. I chose not to attend the Providence National with similar regret. I agree that tunings should at least be learned aurally, whichever choice of focus a tuner decides upon, likewise that an intent should match a tuning. I do not feel, however, that any one tuning or temperament can be proposed as superior to others; the temperaments I perform regularly (though in a limited scope) likewise are met with controversy that I cannot ignore, yet unlike a Joseph Yasser or Harry Partch I do not offer them as replacements. My belief is that HTs not only are a wonderful asset but a necessity in the performance of their contemporary musics. As historically minded performers have researched the implementation of more than just notes on a page, so have a number realized the proper function of tunings to the works in question. Happily, the harpsichord had a resurgence, upon which Bach may be heard authentically. Perhaps the Reverse Well Temperament has its place, too; indeed, it may be as common as you attest (I've also observed it frequently) - yet, if so, does its incorrectness merit replacement if music quite likely has been composed with its logic? This said, the body of common practice works practiced or performed in nominal 12tET aren't appropriate to this tuning; those that make use of its features mostly are overlooked and a compromise Well Temperament in fact may be very appropriate. Yet, less commonplace retunings applied to older works are far from being stated as definitive. 12tET has had a relatively long history, but hardly in keyboard instruments. A proposed replacement should not hold any better place in history, particularly as both knowledge and presets readily are at hand. Sincerely, Clark Panaccione Radical Hardware/ Mi Re Ut
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