Scores
Source 1:
Arensky, Anton. Piano Trio No.2, Op.73. N.p.: n.p., ca. 1905. imslp. Web. 20 Dec. 2014. <http://imslp.org/wiki/Piano_Trio_No.2,_Op.73_(Arensky,_Anton)>.
(It is a score...that I could print out if needed, it is very “valid”)
Three instruments, a piano, a violin, and a cello play the 4-movement piece. This piece involves a piano, and because of the key changes between movements, the piano (and therefore the other stringed instruments) must play in equal temperament, thus limiting the harmonic balance of the some notes, yet expanding it to play in any key.
The piece was composed in the 20th century time period, and has many Romantic aspects to it (and really it is in the Romantic era.
This gives an example of the limitations of certain instruments, such as the modern piano, which does not have the ability to quickly change keys (while using perfect intonation), and aids in my diversity of examples for limitations and possibilities of perfect intonation vs. equal temperament.
Arensky, Anton. Piano Trio No.2, Op.73. N.p.: n.p., ca. 1905. imslp. Web. 20 Dec. 2014. <http://imslp.org/wiki/Piano_Trio_No.2,_Op.73_(Arensky,_Anton)>.
(It is a score...that I could print out if needed, it is very “valid”)
Three instruments, a piano, a violin, and a cello play the 4-movement piece. This piece involves a piano, and because of the key changes between movements, the piano (and therefore the other stringed instruments) must play in equal temperament, thus limiting the harmonic balance of the some notes, yet expanding it to play in any key.
The piece was composed in the 20th century time period, and has many Romantic aspects to it (and really it is in the Romantic era.
This gives an example of the limitations of certain instruments, such as the modern piano, which does not have the ability to quickly change keys (while using perfect intonation), and aids in my diversity of examples for limitations and possibilities of perfect intonation vs. equal temperament.
Source 2:
Mozart, Wolfgang Amadeus. Neunzehntes Quartet. N.p., 1882. IMSLP. Web. 20 Dec. 2014.
<http://imslp.org/wiki/String_Quartet_No.19_in_C_major,_K.465_(Mozart,_Wolfgang_Amadeus)>.
In this happy and upbeat piece by Mozart, there is a clear example of just intonation. This score would sound fundamentally different played with equal temperament. As the harmonic resonances would change, and become more dissonant. Because there is no instrument that requires equal temperament, just intonation becomes possible however difficult because of the countless accidentals. Upon listening to a recording I realized that this piece would be incomplete with out the small adjustments of tone to create more perfect chords.
This score drew me to the conclusion, or more accurately to the realization, that most string players adjust automatically to fit a more perfect chord, assuming they can. This implies that for certain pieces just intonation is not specifically used, due to the fluidity of pitch for non-fretted string instruments, true intonation is used when possible, which is interesting, as it is not one way or the other, but instead a median between the two (obviously leaning more towards just intonation).
Mozart, Wolfgang Amadeus. Neunzehntes Quartet. N.p., 1882. IMSLP. Web. 20 Dec. 2014.
<http://imslp.org/wiki/String_Quartet_No.19_in_C_major,_K.465_(Mozart,_Wolfgang_Amadeus)>.
In this happy and upbeat piece by Mozart, there is a clear example of just intonation. This score would sound fundamentally different played with equal temperament. As the harmonic resonances would change, and become more dissonant. Because there is no instrument that requires equal temperament, just intonation becomes possible however difficult because of the countless accidentals. Upon listening to a recording I realized that this piece would be incomplete with out the small adjustments of tone to create more perfect chords.
This score drew me to the conclusion, or more accurately to the realization, that most string players adjust automatically to fit a more perfect chord, assuming they can. This implies that for certain pieces just intonation is not specifically used, due to the fluidity of pitch for non-fretted string instruments, true intonation is used when possible, which is interesting, as it is not one way or the other, but instead a median between the two (obviously leaning more towards just intonation).