Choice Of Temperament; Equal Temperament; Werckmeister Iii Temperament; Mean-Tone Temperament - Johannus Monarke User Manual

Choice of temperament

Temperament or temperature is the arrangement of tones within an octave. In the course
of time, this arrangement has continually changed and has been adapted to changing
tastes or to other and newer instruments.
Your instrument may allow you to choose from the following temperaments:

! Equal temperament

! Werckmeister III-temperament

! Mean-tone temperament

Equal temperament
At present, the usual and generally accepted temperament is 'equal' temperament. This
is a tuning system based on the division of the octave into 12 equal semitones. The
equality of semitones means that all other intervals are tempered, as compared with their
frequency ratios. This is the normal tuning of your instrument. Moreover, if the instrument
has two intonations, you have a choice of a romantic intonation and a baroque intonation.
On an instrument tuned according to this principle music can be played in all the major and
minor keys.

Werckmeister III temperament

Andreas Werckmeister introduced his temperament in Germany about 1691. In this
temperament the usual thirds are relatively pure. Each key has its own specific character.
This was especially exploited during the Baroque period, and also in later days. Johann
Mattheson wrote in 1713 that e.g. "f-minor is used to express resigned, deep, despair and
fear of death". In his opinion "C-major is impertinent, but not unsuited to express feelings
of joy as well". This temperament comes out well when the thumb piston WM is pressed,
and the baroque intonation is selected.
Mean-tone temperament
With mean-tone temperament the most widely used major thirds are tuned pure (e.g. c-e,
d-fis, etc). Because pure thirds in chords with fifths and thirds determine whether the chord
sounds pure or not, chords with pure thirds in this mean-tone temperament are
experienced as very restful. When a chromatic scale is played in a mean-tone
temperament, distinct differences between these halves become quite clear. With the
mean-tone temperament it is impossible to realize pure major triads on the tones A flat,
F sharp, G sharp and B.
This mean-tone temperament was (with a few adaptations) in general use until about 1650.
Music, written at this time, started from this temperament, made the most of the
possibilities, and steered clear of the impossibilities. Because the half tones are different,
chromatic passages sound vehement; this possibility was exploited a lot if violent emotions
in the audience had to be summoned. For the'more out of tune' the chord, the more
vehement the emotions.
In the music from the period of about 1550-1650 many examples can be found in which
the less pure harmonies were used for expressive reasons. Composers working at the time
were, among others, Michael Praetorius (1571-1621) and Jan Pieterszoon Sweelinck
(1562-1621).
This repertoire needs, in fact, a mean-tone temperament, which adds an extra dimension.
In our equal temperament this repertoire sounds a lot shallower and an essential
dimension is lost.
This temperament comes out well when the thumb piston MT is pressed, and the baroque
intonation is selected.
User's Manual
JOHANNUS JOHANNUS
JOHANNUS JOHANNUS
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Monarke