Meantone Temperaments on Lutes and Viols

David Dolata

Description

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 Diagrams
List of Tables
List of Audio Files
Acknowledgments
Introduction

Part One: Precedent
Part One Introduction
1. Historical Performance, Thought, and Perspective
2. Surviving Fixed Metal-Fret Instruments
3. Fretting Pattern Iconography
Part One Conclusion

Part Two: Theory
Part Two Introduction
4. Inside the Numbers: How Tuning Systems Work and Why We Need Them
5. Tour through Tuning Systems
Part Two Conclusion

Part Three: Practice
Part Three Introduction
6. Physical and Environmental Factors
7. The Zen of Tuning
8. Continuo
9. Viols

Conclusion
Appendix 1: Cleartune
Appendix 2: Equal Temperament Offset Charts
Notes
Bibliography
Index

Sujets

• Musique
• Histoire de la musique
• Music
• Performance
• History
• Strings
• String instrument
• History of classical music traditions
• Criticism
• Multiple signal classification
• Musical instrument
• Musical Instruments

Informations

• Publié par: Indiana University Press
• Date de parution: 04 juillet 2016
• Nombre de lectures: 1
• EAN13: 9780253021465
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

MEANTONE TEMPERAMENTS ON LUTES AND VIOLS
PUBLICATIONS OF THE EARLY MUSIC INSTITUTE
Paul Elliott, editor
MEANTONE TEMPERAMENTS ON LUTES AND VIOLS

David Dolata
This book is a publication of
Indiana University Press
Office of Scholarly Publishing
Herman B Wells Library 350
1320 East 10th Street
Bloomington, Indiana 47405 USA
iupress.indiana.edu
2016 by David Dolata
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Names: Dolata, David, author.
Title: Meantone temperaments on lutes and viols / David Dolata.
Other titles: Publications of the Early Music Institute.
Description: Bloomington ; Indianapolis : Indiana University Press, 2016. | ?2016 | Series: Publications of the Early Music Institute | Includes bibliographical references and index.
Identifiers: LCCN 2016002164 | ISBN 9780253021236 (cloth : alkaline paper) | ISBN 9780253021465 (ebook)
Subjects: LCSH : Lute-Tuning. | Viols-Tuning. | Musical temperament.
Classification: LCC MT 165 . D 65 2016 | DDC 787.8/1928-dc23
LC record available at http://lccn.loc.gov/2016002164
1 2 3 4 5 21 20 19 18 17 16
For my wife, Mary
Before one plays of the lute he must have his lute well strung and well tuned as it behoveth to get good ink, good paper and a good pen before one undertakes to write well. Therefore to follow good order we shall begin by this discourse, since that it is impossible to play well unless the lute be well strung and set in tune.
-Burwell Lute Tutor
Contents

List of Diagrams

List of Tables

List of Audio Files

Acknowledgments

Introduction
PART ONE
Precedent
PART ONE INTRODUCTION
CHAPTER ONE
Historical Performance, Thought, and Perspective
CHAPTER TWO
Surviving Fixed Metal-Fret Instruments
CHAPTER THREE
Fretting Pattern Iconography
PART ONE CONCLUSION
PART TWO
Theory
PART TWO INTRODUCTION
CHAPTER FOUR
Inside the Numbers: How Tuning Systems Work and Why We Need Them
CHAPTER FIVE
Tour through Tuning Systems
PART TWO CONCLUSION
PART THREE
Practice
PART THREE INTRODUCTION
CHAPTER SIX
Physical and Environmental Factors
CHAPTER SEVEN
The Zen of Tuning
CHAPTER EIGHT
Continuo
CHAPTER NINE
Viols

Conclusion

Appendix 1: Hertz in Cleartune

Appendix 2: Equal Temperament Offset Charts

Notes

Bibliography

Index
Plates follow page 94 .
Diagrams
1.1.
4th fret in compromise position
3.1.
Pythagorean tuning fretboard in G
3.2.
Fretboard patterns for 1/4-, 1/5-, 1/6-, and 1/8-comma meantone and equal temperaments
4.1.
Standard Circle of Fifths
4.2.
String wave patterns
4.3.
Derivation of the Pythagorean comma
4.4.
Derivation of the Pythagorean major third
4.5.
Cents chart construction
5.1.
Pythagorean tuning Circle of Fifths
5.2.
Absorption of the Pythagorean comma into the wolf
5.3.
Pythagorean tuning fretboard in G
5.4.
Arnaut s transposed Pythagorean tuning Circle of Fifths
5.5.
Derivation of the 1/4-comma third
5.6.
Adjustment of fifths in 1/4-comma meantone temperament Circle of Fifths
5.7.
Absorption of Pythagorean and syntonic commas into wolf
5.8.
1/4-comma meantone temperament Circle of Fifths
5.9.
1/4-comma meantone temperament fretboard notes with 1st fret fa
5.10.
1/4-comma meantone temperament fretboard notes with 1st fret mi
5.11.
Harmonic diesis in 1/4-comma meantone temperament
5.12.
Slanted 1st fret
5.13.
Extended meantone temperament Circle of Fifths
5.14.
Multipart divisions of the octave in various tuning systems
5.15.
Vallotti temperament Circle of Fifths
5.16.
Vallotti temperament fretboard pattern
5.17.
Adjustment of fifths in equal temperament Circle of Fifths
5.18.
Equal temperament Circle of Fifths
6.1.
Second bridge added two-thirds the length of the string and where the same length of string would meet the fingerboard
6.2.
Two thirds of the length of the string stretched to reach the fret
6.3.
Effect of higher action on sharpening
7.1.
Baroque lute fretboard in 1/4-comma meantone temperament
7.2.
Baroque lute fretboard in 1/4-comma meantone temperament with tastini
7.3.
Octave and unison checks for first course 1st fret
7.4.
Cents relationship between adjacent courses in 1/4-comma meantone temperament
7.5.
Standard meantone fretboard arrangements for instruments in G, A, and D
7.6.
Setting the 1st fret tastino by octaves
7.7.
A Minor configuration for instrument in G
8.1.
Notes on lute s first four frets, including 1st fret tastino
8.2.
Theorbo fretboard with 4th and 6th frets set as mis
8.3.
Theorbo fretboard with 4th and 6th frets set as fas
8.4.
Notes on theorbo s first four frets, including 1st fret tastino
9.1.
Tilted viol bridge
9.2.
Viol in D pitch locations for most common mi/fa fret configuration
9.3.
Viol fret space locations providing alternate mis and fas
Tables
2.1.
Palmer orpharion first course fret distances to nut, in millimeters and cents, and fret space widths in cents
2.2.
Palmer orpharion pitch names, mi/fa designation, fret widths in cents, and Palmer s natural/accidental designation
2.3.
Rose orpharion (or bandora) fret distances to nut, in millimeters and cents, and fret space widths in cents
4.1.
Table of intervals, in ratios and cents
4.2.
Harmonic frequencies of the first six notes of the harmonic series on C and a pure perfect fifth higher on G, in hertz
4.3.
Intervals between the first six notes of the harmonic series on C and a pure perfect fifth higher on G, in cents
4.4.
Harmonic frequencies of the first six notes of the harmonic series on C and an ET fifth higher on G, in hertz
4.5.
Intervals between the first six notes of the harmonic series on C and an ET fifth higher on G, in cents
4.6.
Harmonic frequencies of the first six notes of the harmonic series on C and a pure major third higher on E, in hertz
4.7.
Intervals between the first six notes of the harmonic series on C and a pure major third higher on E, in cents
4.8.
Harmonic frequencies of the first six notes of the harmonic series on C and an ET major third higher on E, in hertz
4.9.
Intervals between the first six notes of the harmonic series on C and an ET major third higher on E, in cents
4.10.
Octaves versus pure perfect fifths, in cents
4.11.
Journey through Circle of Fifths by adding fifths and subtracting fourths, in cents
5.1.
Size of perfect fifth, wolf fifth, major thirds, semitones, and harmonic diesis in 1/4-, 1/5-, 1/6-, and 1/8-comma meantone temperaments, in cents
5.2.
Key dissonance factors, in cents
9.1.
Mersenne s fretted open string lirone tuning with alternating fa and mi frets
Audio Files
Audio files can be accessed via the book s Indiana University Press web page, www.iupress.indiana.edu .
4.1.
Pure major third C-E (386c.) [treble viol]
4.2.
1/6-comma meantone temperament major third C-E (393c.) [treble viol]
4.3.
Equal temperament major third C-E (400c.) [treble viol]
4.4.
Pythagorean major third C-E (408c.) [treble viol]
4.5.1.
Pure perfect fifth between C (262 Hz) and G (393 Hz) [MaxMSP]
4.5.2.
Pure perfect fifth between C (524 Hz) and G (786 Hz) [MaxMSP]
4.6.1.
Equal temperament fifth between C (262 Hz) and G (391.7 Hz) [MaxMSP]
4.6.2.
Equal temperament fifth between C (524 Hz) and G (783.4 Hz) [MaxMSP]
4.7.1.
Pure major third between C (262 Hz) and E (327.5 Hz) [MaxMSP]
4.7.2.
Pure major third between C (524 Hz) and E (655 Hz) [MaxMSP]
4.8.1.
Equal temperament major third between C (262 Hz) and E (330.2 Hz) [MaxMSP]
4.8.2.
Equal temperament major third between C (524 Hz) and E (660.4 Hz) [MaxMSP]
4.9.1.
Pythagorean comma between C (262 Hz) and B (265.6 Hz) played melodically [MaxMSP]
4.9.2.
Pythagorean comma between C (524 Hz) and B (531.2 Hz) played melodically [MaxMSP]
4.10.1.
Pythagorean comma between C (262 Hz) and B (265.6 Hz) played harmonically [MaxMSP]
4.10.2.
Pythagorean comma between C (524 Hz) and B (531.2 Hz) played harmonically [MaxMSP]
4.11.1.
Pythagorean major third between C (262 Hz) and E (331.6 Hz) [MaxMSP]
4.11.2.
Pythagorean major third between C (524 Hz) and E (663.2 Hz) [MaxMSP]
4.12.
Syntonic comma between the first and sixth courses [lute]
5.1.
Equal temperament triad [lute]
5.2.
1/4-comma meantone triad [lute]
5.3.
V-I cadence in G Major in 1/4-comma meantone temperament [lute]
5.4.
I-IV-V-I progression in B Major in 1/4-comma meantone temperament [lute]
5.5.
i-iv-V-I progression in G Minor in 1/4-comma meantone temperament [lute]
5.6.
I-IV-V-I progression in B Major in 1/5-comma meantone temperament [lute]
5.7.
i-iv-V-I progression in G Minor in 1/5-comma meantone temperament [lute]
5.8.
I-IV-V-I progression in B Major in 1/6-comma meantone temperament [lute]
5.9.
i-iv-V-I progression in G Minor in 1/6-comma meantone temperament [lute]
5.10.
I-IV-V-I progression in B Major in 1/8-comma meantone temperament [lute]
5.11.
i-iv-V-I progression in G Minor in 1/8-comma meantone temperament [lute]
5.12.
B Major chord in Vallotti temperament [harpsichord]
5.13.
E Major chord in Vallotti temperament [harpsichord]
7.1.
John Dowland, Tarleton s Riserrectione in 1/4-comma meantone temperament [lute]
7.2.
John Dowland, Tarleton s Rise