Schillinger and sevenths and Equal Temp.

[Richard Moody]

----------
> From: rmartin21@juno.com
> To: pianotech@ptg.org
> Subject: Re: Schillinger and sevenths and Equal Temp. 
> Date: Friday, July 18, 1997 1:49 PM
> 
> Hi Rich
> 
> Boy! you're asking some question s that could fill a text! I'll try
not
> to get too "wordy"
> 
> The dominant structures (outside of the V ) do not ,I feel lend
> themselves to any tuning except ET. 

Which is interesting as the V in tonic of a seventh chord produces a
a chord called dominant seventh (in a lot pf pop music.  Also a chord
used by blues players.).  In the key of C the V is G so a seventh
chord would contain G B D F. Which is the famous classical music set
up to resolve to the C major triad  or the I.
  
> Before I go on endlessly, please let me recommend Mark Levine's
"The Jazz
> Piano Book" available in all good music stores.

Seems to becoming a basis for modern music, Jazz and pop theory. Been
there, done that, will be there again.  Great reference.  Recommended
for all.   


>The other circumstance is when plaing a classic (rare, for
> me). This music was written many moons ago for a harmony that was
equally
> as old on temperments that were used during the period when they
were
> written and as such lose their entire meaning, I feel, when
accompanied
> by modern harmony. They are best played exactly as written to
preserve
> what those composers had in mind when writing them.

One problem, the publications that are extant do not refer to the
tuning scheme. With explicit intstructions as to  tempo etc, one
wonders why nothing is mentioned about temperament tuning schemes.  
 
> Hope that answered a question or two. Afraid to get any more
lenghthly on
> a list for piano technology. 
> Ralph Martin

Well as long as it deals with tuning, why not?   But when we get into
the 13th chord with an A in the bass for theater organs, maybe
another list or newsgroup, but still why does this sound good in the
"modern" organs and pianos, and not on "church" organs. or maybe it
does. These "new" sounds through chording, would they have come about
from "old" tuning systems? or did they arise from the sound of ET
tuning?  
	Upon further reflection, how much was the music of the "turn of the
century" and from there into the forties, fifties and sixties, was
influenced by composers from the keyboard known as the"modern piano".
 It is interesting to note that perhaps 90% of the classical music
was composed on pianos before the "modern" piano. And that piano
music most often played and heard after that time is in the "popular"
"show tunes" and Jazz.  
	It seems the modern piano finally came about from steel strings that
could hold the extrodinary tensions from 150 lbs to 300 lbs.  Such
strings appeared in the 1880's and 1890's.  The technologies for the
plate, case, action, and soundboard were already there.  And then
some where along the line an agreement was reached as to how the
piano should be tuned.  Equal Temperament won out.  So in a sense
every one before and including  Lizt compsed for piano sounding like
instruments and on various temperaments.    But every thing composed
before that we now hear on modern concert grand pianos tuned in ET. 
	So after the modern piano was available, what music do we hear that
was composed on it?  The sound of the modern piano and its Equal
Temperament tuning undoubtly influenced the sound of the modern
composers, from Scott Joplin, to James P Johnson, to Gershwin, to
Irving Berlin, to the arrangers of the "big band Jazz sound" to Bill
Evans, to Ray Charles, Henri Mancini, Burt Bacarach, and Elton John. 
	Actually the question is what music would be composed on the piano
in a different tuning?  

Richard Moody.