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Harpsichords and Related Topics

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Subject:
From:
Davitt MORONEY <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Sat, 2 Dec 2017 12:41:30 +0100
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1) Claudio says, "the prevailing practice in Italy was meantone, often with
the well-known enharmonic 14-keys-per-octave (D#-Eb, G#-Ab)."
2) Claudio also says "Conclusion: for Froberger's pieces that fall outside
the usual meantone range, the "authentic" temperament is not to retune
flats to sharps for different pieces, but instead either use Equal
Temperament or even better to have a 14-key keyboard tuned in standard 1/4
comma meantone."

Isn't there a contradiction here? If the first is true, why shouldn't
someone today who has a keyboard with twelve notes to the octave retune the
G sharp to A flat and/or the E flat to D sharp, if needed. It is an easy
fix to create a solution that Froberger had available in a different way.
Note: for Froberger to put A flats on the instrument only requires retuning
two pitches, the A flats below and above Middle C. To get a D sharp, there
are three pitches to retune.
But these two procedures would not be needed in the same piece. A work that
needs a A flat will need the regular E flat; one that needs a D sharp will
need the regular G sharp.

Best wishes,
DM




*Davitt Moroney​​Professor Emeritus Department of Music*

*Morrison Hall*


*​University of California, Berkeley​CA 94720-1200*

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