Jump to content
Mander Organs

David Pinnegar

Members
  • Content Count

    60
  • Joined

  • Last visited

Everything posted by David Pinnegar

  1. It's not necessarily just about intervals - it's about beats, difference frequencies being discordant, and tone. When you're tuning an intrument and are close to the sound source, pipes or strings, an equal temperament major third will produce a difference note two octaves down but a quarter tone sharp which grates. If the major third is wider then the difference note is further away than the two octaves down and less associated. If it's purer, then it reinforces. The major third is the 4th and 5th harmonic of a fundamental, so create a false fundamental in just the same way as playing 5t
  2. Colin - THANK YOU SO MUCH for that gem of research. Fascinating. I'll have to dissect it in greater detail but it's very intriguing. For anyone interested the seminar is on with a better edit of the section in the middle on and a recent concert with the piano tuned in Kellner as Mander chose for many organs Best wishes David P
  3. From one point of view I can agree with you but from the other, already in this thread we've heard from David Drinkell about the improvement of tone of the instrument that the subtle change of tuning has created - no bad thing - and by bringing nicer sounds into the aural realm there's their effect on more sensitive musicians who create music to make a beautiful sound, and so don't just go faster and faster. Certainly in the pianistic world the difference that tuning can have on performance is quite profound even if the audience themselves haven't picked up on the intervallic discrepancies fro
  4. At the seminar the other day we were most privileged to have been joined by Martin Renshaw. He enlightened me that Willis organs were in their own temperament, not equal, and that nor were Cavaillé-Coll's . . . I haven't seen much about this from other sources. Does anyone know of any? Best wishes David P
  5. Colin - thanks so very much for your insight and comment on Padgham's researches and in particular with respect to differences between 5th comma and 6th comma Meantone temperament not being very dissimilar. It also clears up confusion where some say that Mozart liked Equal Temperament - in your point out that 6th Comma Meantone is an equal temperament in its way. As a musicological device I like 1/4 comma meantone beyond merely Couperin and the Baroque almost as an x-ray into the music taking to the extreme what other temperaments lead to and ensures that we don't miss it. We can then either r
  6. Thanks so much for drawing attention to this. Perhaps it explains why on my pipeorgan as a teenager in Werckmeister III I came to hate it absolutely on account of Ab major! However perhaps it was my aural tuning. It might be appropriate to take issue on one thought: 😉 On account of a fellow member perhaps his conclusions explain exactly why Padgham and I and the other member might come to similar conclusions. Certainly in the piano world it is a matter of ignorance and fear of the unknown. Temperament has not been an issue on the table for pianists and those havi
  7. There's a delightful instrument in an Anglican church in the Kew or Kingston area built by Matthew Copley. It was audibly unequally tuned and very exciting. It sounded to me like Meantone but upon asking Matthew he swore it was Werkmeister III. What's really interesting about strong unequal temperament on organs is that one doesn't need a large specification with which to convey emotion. As briefly mentioned above and explained in the link on Academia the Mozart fantasias for Mechanical Clock did all they were meant to achieve, and all that it takes modern organists the resources of a hug
  8. I was searching for the BIOS issue which first covered Padgham's tests with unequal temperaments and this thread popped up. If anyone's summed up the reasons for putting temperament on the agenda more generally in musical considerations, pianos as well as organs, member here deadsheepstew summed it all up very succinctly. If I come across as a little bit enthusiastic about temperament, even stark raving nuts of course, it's because classical music and instruments needs an impetus of new inspiration, and boring equal temperament and sticking to it is simply not engaging people emotionally
  9. It would be really appreciated if anyone could bring further enlightenment about the numbers and possible whereabouts of Mander Well Tempered instruments! What's really interesting is that in the piano tuning world some tuners are erring towards perfect fifths and stretched octaves. Using Pianoteq software simulation the thirds are widened in the stretched tuning scheme more and more unpleasantly than the thirds in remote keys that people refer to being as unpleasant in unequal temperaments. But in the stretched octave scheme no-one seems to notice. Organs of course are tuned "straight" s
  10. Since hearing of the Mander organ at Cranleigh School having been built in Kellner temperament I've had strong admiration for Mander's work in bringing forward alternatives to equal temperament. It's really sad that Cranleigh had to be returned to Equal Temperament but I'm wondering how many instruments have been built by Mander in Kellner or other temperaments and the tuning has survived to be available to be heard? How many people play organs not in Equal Temperament? Of those who regularly play in Kellner on the organ how universal is it as a tuning for the whole repertoire? Is th
×
×
  • Create New...