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7

This blog post compares the three forms of the minor seventh (with sound samples). His conclusion is that the harmonic seventh (7/4) is used as a blue note, but that it is too stable for use in a dominant seventh chord. The extra dissonance of 16/9 gives it the need to resolve that is lacking in 7/4.


7

We first need to categorize each interval, assign it a "consonance amount". That's the first problem we find. In the case of the fourth, for example, some consider it perfect consonance, and others consider it a dissonance, depending context (and who you ask). For simplicity, let's define ours based on Wikipedia's: 1: Perfect consonances: unison, octave, ...


6

If you are planning to play with piano in future, I would definitely use equal temperament. To be honest, to learn to play in tune with the widest range of other musicians, equal temperament would be most useful too. And initially, as a beginner, you are unlikely to notice the difference much, so this would be another reason to choose equal temperament. ...


5

"Are there other examples of common practice period manuscripts, or other documents that provide some indications on how to tune the instrument?" I think you're mostly looking for examples of scores/manuscripts, but as far as "other documents" go, there are certainly period treatises that describe various temperaments. One such example is "Lettre touchant ...


5

ALL notes in a JI system are a series of ratios in relation to the tonic. So what path you choose to get to any particular note is important in determining what its tuning is going to be. This means in JI a modulation is possible, but will bear little resemblance to a modulation in a tempered tuning system. The consonance of a secondary dominant is ...


5

FWIW, late organ builder and writer Stephen Bicknell, in this introductory description of temperaments mentions tuning a continuo organ to quarter-comma meantone for a performance of Monteverdi by the Taverner Choir & Consort.


4

For your specific points: 1) For most/all* instruments, the amplitude of the partials decreases as the partial number (i.e. frequency goes up). Thus, for almost all musical sounds there is "more of" the (first) octave and the fifth and less of the higher harmonics. So adding a second sound whose fundamental is at one of the lower harmonics reinforces ...


3

For a number of years I was publicity, marketing and business manager for a Baroque chamber orchestra in Atlanta, Georgia, United States of America. I have put the question of temperament and tuning for Monteverdi's Orfeo to several friends who perform with that group. If I hear back from them, I will post their answers here. I fear that I may have confused ...


3

I recommend equal temperament, in particular with Suszki: When you learn to play in more and more keys it will be easier because they will sound and "feel" more similar to the keys you are playing in as a beginner. If you use just temperament you will get overly attached to Keys like G, D, and A major because the violin will be more resonant due to ...


3

There might be a second question here, which regards the internal tuning of the cello strings, relative to itself. Cellos are typically tuned in fifths (C-G-D-A) of course, but there are pieces that require a different tuning (a technique called scordatura). In this case, wikipedia mentions that Bach's 5th Cello Suite was written for a scordatura in which ...


3

These days many musicians who play Baroque music such as Bach tune their instruments down to the lower pitch of A=415, which is exactly one half-step below the modern standard of A=440. It is generally accepted by modern performers of early music in the historically-informed style that A=415 was the tuning that Bach himself used for the string pieces he ...


2

The point of unequal well-tempered tunings is that the keys don't sound the same. Temperaments like Werckmeister III or Vallotti or 18th century French ordinaire are meant to be usable in any key while letting each have its own colour. (Vallotti is quite commonly used on fortepianos.) For most of what you're doing, you could probably get away with a mean ...


2

Equal temperament is key-agnostic. Well-tempered tuning isn't. The point of well-tempered tuning is that all keys are tolerable, but some are still better than others and each has its own character. This own character was pretty much the whole point of Bach's "Wohltemperirtes Clavier" (it is usually assumed that some Werckmeister tuning reflects the ...


2

As MarkM pointed out, your claim is unsubstantiated. Consider further that "concert pitch" is not a fixed value. In the Good Old Days of Yesteryear, middle-A could be anything from 409Hz on up ( Wikipedia). Whether any particular YouTube recording was pitch-shifted in postprocessing is unknown.


2

Maybe you could point out which videos you're listening to. Period tuning is sometimes lower than A 440, but from a random sample of top results in youtube I found: Mischa Maisky : ...


1

The standard tuning is tuning A to a reference, and tuning perfect fifths from there. That's what you need for double stops, and it's pretty standard when playing with others to avoid empty strings in slow playing, also because long notes are usually played with vibrato (actually, you can even play an empty string "with vibrato" by doing the vibrato on a ...


1

Octaves on a piano are not tuned pure. Because of inharmonicity, the higher partials of a single piano string are slightly sharper than theory would predict. Ideal harmonic series above 100Hz: 100 200 300 400 etc Actual harmonic series above 100Hz (approximation): 100 200.05 300.2 400.6 The higher the partial; the sharper the pitch. Shorter piano ...


1

For your further exploration: Wendy Carlos has an album called "Beauty in the Beast" with some pretty exotic temperaments realized with interesting synth timbers. She has a site at wendycarlos.com. http://www.wendycarlos.com/resources/pitch.html http://www.pandora.com/wendy-carlos/beauty-in-beast (tracks 2 and 4 are good) Harry Partch composed for some ...



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