Well temperament
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Well temperament (also circular or circulating temperament) is a type of tempered tuning described in twentieth-century music theory. The term is modelled on the German word wohltemperiert which appears in the title of J.S. Bach's famous composition, Well-Tempered Clavier. The phrase wohl temperiert also occurs in the works of Bach's predecessor, the organ tuner and music theorist Andreas Werckmeister.
[edit] Origins
"Well tempered" means that the twelve notes per octave of the standard keyboard are tuned in such a way that it is possible to play music in any major or minor key and it will not sound perceptibly out of tune. In most tuning systems used before 1700, one or more intervals on the twelve-note keyboard were so far from any pure interval that they were unusable in harmony and were called a "wolf". The most used system immediately before Werckmeister was meantone in which one fifth was nearly two commas wider than pure, and four major thirds were also very wide.
The wolf was not a problem if music was played in a small number of keys (or to be more precise, transposed modes) with few accidentals but it prevented players from transposing and modulating freely. Some instrument-makers sought to remedy the problem by introducing more than twelve notes per octave, producing enharmonic keyboards which could provide, for example, a D♯ and an E♭ with different pitches so that the thirds B–D♯ and E♭–G could both be euphonious.
However, Werckmeister realised that these "subsemitonia", as he called them, were unnecessary, and even counterproductive in music with chromatic progressions and extensive modulations. He described a series of tunings where enharmonic notes had the same pitch: in other words, the same note was used as both (say) E♭ and D♯, thereby "bringing the keyboard into the form of a circle". This refers to the fact that the notes or keys may be arranged in a circle of fifths and it is possible to modulate from one key to another unrestrictedly.
[edit] Forms of well temperament
Equal temperament is the simplest example of "well temperament", but is not usually referred to as such. The term usually means some sort of irregular temperament in which the tempered fifths are of different sizes but no key has very impure intervals. Historical irregular temperaments usually have the narrowest fifths between the diatonic notes ("naturals") producing purer thirds, and wider fifths among the chromatic notes ("sharps and flats"). Each key then has a slightly different intonation, hence different keys have distinct characters. Such "key-colour" was an essential part of much eighteenth-century music and was described in treatises of the period.
The first circular temperament was described by the organist Arnolt Schlick in the early sixteenth century, but "well temperaments" did not become widely used until the baroque period. They persisted through the classical period, and even survived into the late nineteenth century in some areas.
There are many well temperament schemes, some nearer meantone temperament, others nearer equal temperament. Although such tunings have no wolf fifth, keys with many sharps or flats still do not sound very well in tune (due to their thirds), and can only be used fleetingly. Some theorists have sought to define "well temperament" more narrowly to exclude fifths wider than pure, which rules out many such schemes.
Some well-known well temperaments go by the following names:
- Werckmeister temperament (invented by Andreas Werckmeister)
- French Temperament Ordinaire
- Neidhardt
- Kirnberger
- Vallotti (invented by Francesco Antonio Vallotti)
- Young
The contemporary composer Douglas Leedy has written several works for harpsichord or organ in which the use of a well temperament is required.
For guitars and similar instruments, inventor Buzz Feiten patented and commercialized a method, Feitenizing, for getting guitars reasonably well tempered.
Scales have been constructed which circulate in numbers of intervals to the octave other than twelve, but these do not seem to have had much, perhaps not any, actual use as yet.
See also: Pythagorean tuning, just intonation, meantone temperament, regular temperament, equal temperament.
[edit] External links
- Tonalsoft Encyclopaedia of Tuning
- Bach's Tuning by Bradley Lehman
- Bach Well Temperament by John Charles Francis
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