temperament

[Billbrpt@AOL.COM]

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In a message dated 11/16/00 7:03:38 PM Central Standard Time, 
remoody@midstatesd.net (Richard Moody)
 writes:


> If temperament is so important to the music why can't it be recognized
> without resorting to electronic devices?   Or, if no one can tell by
> listening, what difference does it make what temp is used?   ric "I am NOT a
> skeptic"
> 
> 
> 
> 
> 

Sorry I haven't been able to participate with this discussion until now but 
I'd have to say that Ed has given some very good answers.  I have seen this 
argument before by a guy who claimed he "knew all about those HT's" (been 
there, done that) and in his vast experience had only known of two artists 
who could recognize a particular temperament when music was played.  His 
inference was that no other temperament was worth doing because no one could 
"tell the difference" while at the same time he was admonishing against doing 
anything at all other than ET because of what would happen if someone 
actually did recognize the difference.

It doesn't at all seem unusual that people would say that they can't 
recognize the differences in temperaments when they have had no experience 
with them and have little or no understanding about what the effects are 
supposed to be.  It's not much different from people saying that they don't 
know the difference whether a piano is in tune or not.  There has to be a 
point at which virtually anyone would say that the piano is out of tune.  
There has to be a point at which virtually any musician would recognize the 
differences that a choice of temperament can make.

Ask yourself why there are any refinements being made in piano preparation at 
all.  Who can "tell" if there are fine points made in regulation or voicing?  
Does making these refinements depend on whether someone will notice or not?  
How about octave stretching?  Do we make choices only if we think someone 
will notice?  If no one says anything about a refinement that has been made, 
is that a reason to say that it is not worth doing?

Sometimes, the goal in temperament may actually be to keep the distinctions 
below the threshold of what most people can distinguish.  That is the way my 
EBVT is designed.  Indeed, most often, other technicians will say when 
questioned about it, "It sounds great but I honestly can't tell the 
difference from ET".  It takes a direct comparison to be able to distinguish 
the difference and even then, the difference is recognized as being a slight 
and subtle refinement such as the perception of enhanced clarity or being a 
little more "in tune" sounding.

To be honest, I have had the same experiences and do not claim to be able to 
recognize and particular temperament when music is being played.  I can, 
however, recognize 1/7 Comma Meantone when certain contexts are played that 
reveal the highly energized sound of the wolf key.  I think I would recognize 
1/4 Comma Meantone if I heard it.  I also can and do recognize the sound of 
my own EBVT when I hear it but that is because I know exactly what it is 
supposed to sound like in all contexts.

Lastly, I would have to say that as a result of doing lots of listening, I 
can recognize the sound of Reverse Well when I hear it and I hear it much too 
often.  I remember in particular taking a guest from France to see a 
production of "A Christmas Carol" last year and hearing Christmas Carols such 
as "Silent Night" being played in the key of C and having completely the 
wrong effect.  This was much like Ed's example he gave about transposing a 
piece from Bach's WT Clavier music.  Imagine a piano tuned in Vallotti-Young, 
for example and playing "Silent Night" in the key of C#.  It would be enough 
to make you wince with discomfort as to the inappropriateness.  But if people 
are routinely presented with an inappropriate sound, is it not easy to 
understand why most people have learned to "tune out" that sound and just 
accept whatever misguided, out of focus, random harmony that is offered as 
being normal?

Bill Bremmer RPT
Madison, Wisconsin

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