This may well be true, so to get back somewhere on topic ... http://www.kylegann.com/tuning.htmlTimtin wrote:Maybe south of the equator there exists some weird musical scale which we primitive northerners haven't yet come across.
Regards
Fred
This may well be true, so to get back somewhere on topic ... http://www.kylegann.com/tuning.htmlTimtin wrote:Maybe south of the equator there exists some weird musical scale which we primitive northerners haven't yet come across.
Not just string players, singers do it all the time - because it sounds right.Timtin wrote:Great link Fred!
But why do string players (especially cellists, I believe) slightly sharpen the leading note
of an ascending scale, and flatten it on the way down? E.g. the C major scale upwards is
played with a slightly sharp B, and downwards it's played with a slightly flat B. And in so doing,
why is there no disharmony with instruments of fixed pitches playing the same note simultaneously?
Because Equal Temperament and its variants as used on a piano are compromises. Just Intonation is what is rather more natural and usually feels right, except when placed in an Equal Temperament framework. So singers and string players will often tend toward Just Intonation without perhaps realising it, especially when a particular key or tonal framework is stable. Our chorus master in the Philharmonia will often tell us that our sense of pitch is much better than anything to which the piano is tuned.Timtin wrote:I didn't realise singers did it too, Rob. What I like to know is why it sounds right.
... which I am not, unless the strings on my piano qualify...rob wrote:We need a string player to discuss this.
http://www.youtube.com/watch?v=v5sI-s4E9jsTimtin wrote:One final thought, has a quarter-tone piano ever been made (with 175 keys, presumably)?