Choice for Mozart, (was Non-ETs)

[A440A@aol.com]

 Dean  writes:

<< This is a fascinating discussion. I have never paid much attention to WT

before, but am anxious to try it on my daughter's piano and have her play me

some Mozart.

Looking at my RCT tools, I find a couple dozen different WTs. How does one

select which one to use?>>

Greetings, 
    This is a common question, and it has no one definite answer. Since the 
piano, as we know it, is producing a different spectrum than what Mozart had, 
there is already a alteration in place.  Also,  we have trained our ears to 
equal temperament as a baseline, which Mozart didn't do.   Soo,  rather than 
beginning with a temperament with the level of contrasts plausibly found in 1750 
or so,  I suggest working one's way backwards to that point. 
     I agree with Avery.  Something representative would be a good beginning. 
 I would suggest that you use a Broadwood style Victorian temperament to 
begin with, and then maybe a Thomas Young.  If you begin finding some new musical 
qualities that appeal, go all the way into key color and try a Werkmeister or 
Kirnberger III.  
    Yes, the harshest intervals will call attention to themselves at first, 
and the most consonant ones will offer unheard of harmony, but the important 
quality is the way these two extremes work with each other to create a rise and 
fall in the harmonic texture.  Appreciation of  this quality doesn't seem to 
be a universally available skill in the technical community, but you don't know 
if it helps until you give it a try with open ears. 
Good luck, let us know what your impressions are! 
Regards, 
Ed Foote 



Ed Foote RPT 
http://www.uk-piano.org/edfoote/index.html
www.uk-piano.org/edfoote/well_tempered_piano.html