Carezo de coñecementos teóricos e prácticos, quizá tamén de oído musical suficiente, para comprende-lo que nos di o doutor Bradley Lehman sobre a “auténtica afinación” de Johann Sebastian Bach, que parece ter descuberto, subxacente, nas páxinas de Das Wohltemperirte Clavier.
Segundo Lehman, con esa afinación, ou se queredes con ese temperamento, soa moito millor a música de Bach (e non so), e ademais vense claros os afectos expresados por cada tonalidade.
Xa hai varios prestixiosos músicos e varias gravacións comerciais que escolleron este sistema para afinar diversos instrumentos de tecla.
Empecei por consulta-lo artigo da Wikipedia sobre well temperament, pero de momento son moi ignorante sobre este asunto e decido “suspende-lo meu xuízo” ata que poida estudialo millor.
Polo de agora poño dous exemplos que el nos serve a través de YouTube, el mesmo tocando o cravo:
a) o canon modulante “infinitamente ascendente” da Musicalisches Opfer BWV 1079. Este canon aparece como o número 5 dos “Canones diversi super thema regium”;
b) a fuga en “fa sostenido menor” do BWV 859 (WTC, libro I).
Pódense seguir estas pezas consultando as vellas partituras de Johann Sebastian Bach no IMSLP.
Hai máis exemplos no canal en YouTube de Bradley Lehman e nas páxinas citadas máis arriba.
Copio e pego un extracto do texto “Playing from Bach’s Fancy: Tuning”:
For the reasons I have stated there, I believe that Bach probably preferred this specific system for much or all of his career, instead of equal temperament or the various unequal methods around him. This also solves classic problems in the music of his sons, as to harmonic flexibility and surprises within their styles.
The layout is:
F-C-G-D-A-E 1/6 comma narrow 5ths;
E-B-F#-C# pure 5ths;
C#-G#-D#-A# 1/12 comma narrow 5ths;
A#-F a residual diminished 6th, 1/12 comma wide.In this tuning, every major scale and minor scale sounds different from every other, due to the subtle differences of size among the tones and semitones. This allows music to project a different mood or character in each melodic and harmonic context, with a pleasing range of expressive variety as it goes along. It builds drama into musical modulations.
The result sounds almost like equal temperament in its smoothness, and it similarly allows all keys to be used without problem, but it has much more personality and color. In scales and harmony it sounds plain and gentle around C major (most like regular 1/6 comma temperament), mellower and warmer in the flat keys such as A-flat major (most like equal temperament), and especially bright and exciting in the sharp keys around E major (like Pythagorean tuning, with pure 5ths). Everything is smoothly blended from these three competing systems, emerging with an emphasis on melodic suavity.
