Nice explanation of why no keyboard can ever be quite perfectly in tune.

Very nice, really.

But I'm the only one that linked this also to the resonance mode of a mylar film during it induced vibration by a modulated electrostatic field?

This might also help to explain why the human ear is conditioned not to expect tonal perfection in musical performance, and why some listeners prefer the compromises of vinyl replay to the more exacting digital.

Dear Bicela,

I think we both listened to the nice little demonstration with modulated electrostitic field vibrating mylar! 

Nothing else is quite good enough really!

Dear Joe,

As Busoni put it, The human ear is able to hear what was meant quite as much as what was done," concerning the tuning of the piano.

But the truth is that when one actually listens to something in "just" intonation with correct intervals rather than averaged semi-tone tuning, the result is ravishingly beautiful. Hairs on the back of the neck territory, though it does require musicians with exquisite ears and intonation to achieve it.

The point is perhaps that most people do not actually appreciate the average tuning of the keyboard [in modern tunings] means that though every key is listenable [and mostly enjoyable] every key is also equally just slitty out of tune on every interval except the octave!

Best wish to you all! George

If original (non-equal temperament) tunings are something you enjoy, George, you may well like this:

Using electronic instruments it is, of course, quite easy to play Bach's music in the original tunings. If you can track down a copy, it would be interesting to hear whether or not you enjoy it.

Mark

Dear Mark,

Your link did not work for me. I am not an expert on computer settings so it is probably my fault!

Anyway, I have a number of recordings of the harpsichord in Bach period un-equal temperaments  tuning.

The main one is Hogwood play the French Suites on period harpsichords in contemporary tuning schemes. And yes it has to be said that they are glorious on the level of the music, the performance, and also the actual timbre and intonation of the instruments used.

Very rare that all three fall into place so nicely. It is a Decca L'oiseau Lyre set.

I also have Walcha on a [1950s] Ammer harpsichord, tuned in the modern even-temperament style.

I also have a fascinating lecture with examples played by Walcha demonstrating the difference between modern tuning and that which predated Bach's Well Tempered  Clavier. Very instructive, and one hardly needs to be a German speaker to understand the thrust of the lecture!

ATB from George

Apologies George - the picture looked fine just after I posted it, yet now has disappeared. How odd.

Anyway, I was mischievously recommending Wendy Carlos's Switched-On Bach 2000 (Telarc, 1992) which was recorded with entirely electronic sources but with authentic Bach tunings. I confess to trying to get a rise out of you, given your steadfastly uncompromising ultra-purist approach to Bach. I'm sure you wouldn't lower your standards to listening to Bach on any instrument invented after 1750!

Mark

Dear Mark,

It may strike you as strange, but any wonderful performance of Bach - and Wendy Carlos made some of them - pleases me, because the music is incredibly robust!

Of course the pure route is via instruments that Bach had in his mind [and the style and tuning systems], and his orchestration if immensely successful, but it took Mendelsohnn, Mahler, Henry Wood [Klonowski], Elgar, even Richard Strauss to get the music back into the mainstream.

Unlike the eclipse of Bach's music in the time of his death, I rather doubt that his genius will ever fade by now. He is beyond fashion by now, but if Wendi Carlos brings more Bachians in then I am all for it!

What I might write here is mere chicken feed in this sphere.  Thus - not taking myself too seriously - nothing you could post would raise my blood pressure, because all I can do is occasionally nudge towards something [not so well known] that is wonderful.

Very best wishes from George