At 03:58 AM 5/18/2005, Ed Foote wrote: > We should remember that David wrote "Just" tuning. Just intonation is >not Meantone tuning. I have heard Just tunings before that seemed incredibly >limiting for what I got, but in that one key, things could sound really >nice. >As there is little commercial return from these tunings, I haven't pursued >them as much as others that I can sell. > As to a distorted effect of a just interval on a modern piano, I > can't >agree. I have often tuned a Kirnberger III on a piano and the key of C >didn't sound distorted by its Just third. It sounded very consonant and far >removed from the tension of the more remote keys. It was certainly >different, but >seems to better fit the music of the 1700's than most others. Kirnberger is a "well" temperament. And on a modern piano - as on any other instrument - it will serve its purpose of differentiating between the characters of the different keys, which is why there is a point to tuning it on a modern piano. What David found hard to understand is why a just tuning was considered "sweet". That Kinberger just third may sound more consonant than the faster-beating thirds on the modern piano - but it isn't an overwhelmingly gorgeous aural experience on a modern piano in and of itself - like it is on other instruments and in vocal and instrumental ensembles - due to the acoustical properties of the modern piano which I cited. Which is why tunings whose purpose it is to maximize the use of pure thirds - such as meantones - have little commercial application on modern pianos, while the "well" temperaments - where key difference is the desired property - can be useful on the modern piano for period music that is based on them. Fundamentally, Ed, it appears that we do not disagree... BTW, the much steeper increase in beat speeds from key to key that is the result of preserving that one pure third in Kirnberger is a price many musicians are not willing to pay. Regards, Israel Stein
This PTG archive page provided courtesy of Moy Piano Service, LLC