On Tue, 12 Sep 2006 13:26:50 +0200, Thomas Dent wrote:
> so by 'extended C/E' we mean AA/C or GG/C, analogous to GG/BB?
here is one of my explanations again:
>> ... an extended South German short octave.
Quoting myself from the archives ( there is a lot more there on this
"The short octave was the standard arrangement, it was in no way short,
developed by EXTENDING the F,G,A,Bflat,B,c... keyboard to C with out
changing the hitherto standard arrangement by adding just ONE natural
key, the C/E, and the two missing sharps for D and E. It was in no way
saving measure: it never would have crossed their minds to make those
missing notes; they weren't missing. All practical fingerings and habits
could remain unchanged. The short octave was and is not short. It was
the long octave. in central Europe, and I believe in Italy as well, the
extension below C was done is an equally pragmatic manner: for notes
below C, keys were added below C, C/E that is. Thus what looks like a
chromatic C keyboard could and probably was tuned like a C/E octave,
the keysC, C#, D, D# being used for whatever was wanted, perhaps GG,AA
BBflat,BB. And this is the kind keyboard for Froberger and Muffat,
it's what they expected, and use of notesbelow C in no way points
to an instrument with chromatic compass or a GG short octave.
Though very uncommon around here, what looks like a GG/BB
octave would be tuned GG, AA, BBflat, BB, Eflat, C/E, F etc. As for
idealized instruments, string schedules, if there at all, never make any
provision for the short octave: C/E may be thicker but it is the lowest
note, too. D is the same as G and E, etc. Thus the player/composer just
tuned to suit. Like the lutenist, and the bass player.
As Jack I think pointed out, these compound short octaves were still
'Dogs look at you like they know
what you've done, and they're going to tell the other dogs'