Show Less
Restricted access

Bach and Tuning


Johnny Reinhard

Bach and Tuning is strictly concerned with the identification of a historically accurate tuning paradigm that applies to the great majority of Johann Sebastian Bach’s music. Once Bach has his personal tuning aesthetic acknowledged, a new dimension of meaning is invoked in performance through the intended interplay of diverse musical intervals. This new narrative lays bare Bach’s mental calculations regarding his idealized intonation. Bach, the true chromatic composer of the Baroque, was the scion of a great music family. Likewise, Andreas Werckmeister was the bright star in a neighboring musical family, only a generation earlier. Bach and Tuning connects the valuable tuning contribution made by Werckmeister to Bach’s musical masterpieces.

Show Summary Details
Restricted access

Chapter 7: Notation


Beginning of Chapter 35 from the original Orgel-Probe (1681) using standard organ notation with carrots to indicate wide, narrow, and pure fifths, now identifiable as Werckmeister III and IV tunings, respectively101

Composers represent their choice of musical tones with the conventional notation of their time. Their notation corresponds directly to their particular choice of tuning system. Musical notation was developed to represent the actual sounds found in musical practice. It is an attempt to pass musical directions directly from the composer to the performer.

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.