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Harpsichords and Related Topics

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Subject:
From:
Rob Brooke <[log in to unmask]>
Reply To:
Harpsichords and Related Topics <[log in to unmask]>
Date:
Sat, 3 Dec 2016 19:57:14 -0500
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Bruce, I agree wholeheartedly. Froberger is wonderful in 1/4 comma 
meantone. As to re-tuning for flats/sharps in mid-performance, I have 
had only one experience.  No, I wasn't playing. A gifted harpsichordist 
was using one of my Italian harpsichords for a recital of Italian 
harpsichord works, all of which sounded well in meantone. Without 
thinking about the issues, she had stuck Pasquini's /Toccata con lo 
Scherzo del Cucco/ in the middle of her program. When I pointed out that 
all of the pieces except the Pasquini needed Eb and the Pasquini needed 
D#, we solved the problem by moving the Pasquini to the end of the 
program. While she spent a little time speaking to the audience about 
enharmonic considerations I re-tuned all the Eb's to D#'s and she 
finished the program with the Pasquini to great acclaim. My wife, who 
was in the audience later told me that she had overheard a grand dame 
near her seat saying, " Why is he re-tuning? It sounded perfectly fine 
before.".

Depending upon the musical literacy of your audience, having to do a 
little re-tuning in a performance is a perfect opportunity to teach 
folks a little about meantone and sharps not being the same as flats. 
When I get the chance, I like to tell them that in equal temperament, 
everything, EVERYTHING except octaves is out of tune - particularly 
major thirds. One could even do a little demonstrating. A B major triad 
really sucks if the half step below E is an Eb. However, it's probably a 
good idea to separate your works in a program so that a re-tuning need 
only be done once. Wouldn't want to spend more time tuning than playing. 
Too much like the old lutenist joke...

Rob

-- 
ROBERT BROOKE HARPSICHORDS
4214 18th Ave W
Bradenton, FL 34205

www.robertbrookeharpsichords.com

941-746-6725


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