Lutes, Viols, Temperaments
CUP Archive, 1984/06/14 - 144 ページ
To tune a lute or viol really well one must see to the exact spacing of the frets tied round the neck of the instrument. In this authoritative work Mark Lindley surveys different approaches to the problem as described from the 1520s to the 1740s by a variety of writers. Attention is given to some distinguished composers (Milán, Dowland, Monteverdi, Marais) and to some seminal figures in the early history of modern science (V. Galilei, Mersenne, Lord Brouncker) as well as to a number of encyclopaedic or didactic writers on music (Gerle, Bermudo, Ganassi, Zarlino, Praetorius). The book includes practical instructions, conclusions about renaissance and baroque performing practices, and a substantial appendix by Gerhard C. Söhne on the historical use of proportions and geometric curves in lute design.
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5ths 6ths according adjust amount Artusi Bermudo bridge cents Chapter chord chromatic comma composers courses described Diatesseron difference discussed distance divide Doni edition equal semitones equal temperament evidence Example fact Figure four fretted instruments fretting scheme Ganassi's geometrical give half harpsichord instructions intervals keyboard instruments larger less letter lower lute major 3rd Mark mean meantone temperament ment Mersenne method middle minor minor semitone named never normal notes numbers octave open strings organ outline particular passage perfect pieces pitch placed play players position practical proportion published pure pythagorean intonation ratios refer remark represents scale scheme semitones shown shows slightly smaller sound tablature Table tasto term theoretical theorists theory third tone touches translation tuning various vihuela viol whole-tone width