Meantone Temperaments on Lutes and Viols, livre ebook

Companion audio files for the book: Audio File 4.1. Pure Major Third C-E (386c.) [treble viol].Audio File 4.2. 1/6-comma Meantone Temperament Major Third C-E (393c.) [treble viol].Audio File 4.3. Equal Temperament Major Third C-E (400c.) [treble viol].Audio File 4.4. Pythagorean Major Third C-E (408c.) [treble viol].Audio File 4.5.1. Pure Perfect Fifth between C (262 Hz) and G (393 Hz) [MaxMSP].Audio File 4.5.2. Pure Perfect Fifth between C (524 Hz) and G (786 Hz) [MaxMSP].Audio File 4.6.1. ET Fifth between C (262 Hz) and G (391.7 Hz) [MaxMSP].Audio File 4.6.2. ET Fifth between C (524 Hz) and G (783.4 Hz) [MaxMSP].Audio File 4.7.1. Pure Major Third between C (262 Hz) and E (327.5 Hz) [MaxMSP].Audio File 4.7.2. Pure Major Third between C (524 Hz) and E (655 Hz) [MaxMSP].Audio File 4.8.1. ET Major Third between C (262 Hz) and E (330.2 Hz) [MaxMSP].Audio File 4.8.2. ET Major Third between C (524 Hz) and E (660.4 Hz) [MaxMSP].Audio File 4.9.1. Pythagorean Comma between C (262 Hz) and B-sharp (265.6 Hz) Played Melodically [MaxMSP].Audio File 4.9.2. Pythagorean Comma between C (524 Hz) and B-sharp (531.2 Hz) Played Melodically [MaxMSP].Audio File 4.10.1. Pythagorean Comma between C (262 Hz) and B-sharp (265.6 Hz) Played Harmonically [MaxMSP].Audio File 4.10.2. Pythagorean Comma between C (524 Hz) and B-sharp (531.2 Hz) Played Harmonically [MaxMSP].Audio File 4.11.1. Pythagorean Major Third between C (262 Hz) and E (331.6 Hz) [MaxMSP].Audio File 4.11.2. Pythagorean Major Third between C (524 Hz) and E (663.2 Hz) [MaxMSP].Audio File 4.12. The Syntonic Comma between the First and Sixth Courses [lute].Audio File 5.1. Equal Temperament Triad [lute].Audio File 5.2. 1/4-comma Meantone Triad [lute].Audio File 5.3. V-I Cadence in G Major in 1/4-comma Meantone Temperament [lute].Audio File 5.4. I-IV-V-I Progression in E-flat Major in 1/4-comma Meantone Temperament [lute].Audio File 5.5. i-iv-V-I Progression in G Minor in 1/4-comma Meantone Temperament [lute]. Audio File 5.6. I-IV-V-I Progression in E-flat Major in 1/5-comma Meantone Temperament [lute].Audio File 5.7. i-iv-V-I Progression in G Minor in 1/5-comma Meantone Temperament [lute].Audio File 5.8. I-IV-V-I Progression in E-flat Major in1/6-comma Meantone Temperament [lute].Audio File 5.9. i-iv-V-I Progression in G Minor in 1/6-comma Meantone Temperament [lute].Audio File 5.10. I-IV-V-I Progression in E-flat Major in 1/8-comma Meantone Temperament [lute].Audio File 5.11. i-iv-V-I Progression in G Minor in 1/8-comma Meantone Temperament [lute].Audio File 5.12. B Major Chord in Vallotti Temperament [harpsichord].Audio File 5.13. E Major Chord in Vallotti Temperament [harpsichord].Audio File 7.1. John Dowland, "Tarleton's Riserrectione" in 1/4-comma Meantone Temperament [lute].Audio File 7.2. John Dowland, "Tarleton's Riserrectione" in 1/6-comma Meantone Temperament [lute].Audio File 7.3. John Dowland, "Tarleton's Riserrectione" in 1/8-comma Meantone Temperament [lute].Audio File 7.4. John Dowland, "Tarleton's Riserrectione" in Equal Temperament [lute].Audio File 7.5. Denis Gaultier, "La Coquette virtuosa" in 1/5-comma Meantone Temperament [baroque lute].Audio File 7.6. Girolamo Giovanni Kapsberger, "Toccata Arpeggiata" in 1/6-comma Meantone Temperament [theorbo].Acoustic audio files were performed by David Dolata, and artificially generated files were created by Federico Bonacossa. The audio files were recorded at the Herbert and Nicole Wertheim Performing Arts Center Concert Hall at the Florida International University School of Music in Miami, Florida using the following instruments: 8-c. Renaissance lute after V. Venere I (Padova 1592) by Paolo Busato 13-c. Baroque lute after M.Dieffopruchar/J.J.Edlinger by Paolo Busato 14-c. Theorbo after M.Tieffenbrucker by Paolo Busato Treble viol by the Charlie Ogle Workshop Double manual Flemish harpsichord by Carl Fudge.Written for musicians by a musician, Meantone Temperaments on Lutes and Viols demystifies tuning systems by providing the basic information, historical context, and practical advice necessary to easily achieve more satisfying tuning results on fretted instruments. Despite the overwhelming organological evidence that many of the finest lutenists, vihuelists, and viola da gamba players in the Renaissance and Baroque eras tuned their instruments in one of the meantone temperaments, most modern early instrument players today still tune to equal temperament. In this handbook richly supplemented with figures, diagrams, and music examples, historical performers will discover why temperaments are necessary and how they work, descriptions of a variety of temperaments, and their application on fretted instruments. This technical book provides downloadable audio tracks and other tools for fretted instrument players to achieve more stable consonances, colorful dissonances, and harmonic progressions that vividly propel the music forward.List of DiagramsList of TablesList of Audio FilesAcknowledgmentsIntroductionPart One: PrecedentPart One Introduction1. Historical Performance, Thought, and Perspective2. Surviving Fixed Metal-Fret Instruments3. Fretting Pattern IconographyPart One ConclusionPart Two: TheoryPart Two Introduction4. Inside the Numbers: How Tuning Systems Work and Why We Need Them5. Tour through Tuning SystemsPart Two ConclusionPart Three: PracticePart Three Introduction6. Physical and Environmental Factors7. The Zen of Tuning8. Continuo9. ViolsConclusionAppendix 1: CleartuneAppendix 2: Equal Temperament Offset ChartsNotesBibliographyIndex