Several days ago, I wrote:
> How about a tasteful and experimental irregular temperament that lets
> us play *all* this Buxtehude and Böhm music, on a standard 12-note
> harpsichord, without having to retune per piece?
By-ear instructions are in that posting:
Here is a new pair of videos demonstrating that temperament directly
against Werckmeister III, so we can hear the differences of character.
The same four pieces by Buxtehude and Böhm are played three times each.
There is a third temperament in there, too, for further contrast.
One performance is in the irregular temperament mentioned above.
Another is in Werckmeister III. The third is in a variant of W-III with
three notes deliberately knocked out by about 5 cents. That's to study
how much of W-III's character survives such a change. Fans of W-III
might have fun figuring out which three notes were moved, and in which
direction. (It's the same across all four examples, and octaves are
always pure.) What subtle changes are audible in the melodic and
harmonic contexts within this music? Where did the moved notes give a
result of some wide 5ths of approximately 707 cents, and are those audible?
All three of these little informal recording sessions were done within
about 1/2 hour of each other, for consistency: play all four pieces,
retune, play all four pieces again, retune, play all four pieces.
In the video presentation the three temperaments are shuffled
differently for each example, so it's a quiz. Which one is normal
W-III, which one has had three changed notes, and which one is this? :
F 0 C,
C -3/16 G -3/16 D -3/16 A -3/16 E,
E 0 B,
B -1/12 F# -1/12 C# 0 G# -1/12 Eb,
Eb -1/12 Bb +1/12 F.
Part 1 (F major and E minor):
Part 2 (Eb major and G minor):