![]() The scope of this paper is to explore a range of solutions to this problem applied to a single major chord within a single register in a specific harpsichord, given this instrument’s inharmonicity coefficient (Fletcher’s ‘B’ factor). ![]() This means there is no longer one single value for an interval that agrees with the ‘natural’ interval concept. This theory is not exact in the case of the harpsichord, as its string stiffness creates inharmonicity - deviations in each harmonic’s pitch varying with its number squared. It relies on the assumption that harmonics frequencies are exact multiples of their fundamental. The theory of natural intervals is based on the coincidence of harmonics and a consistent system of heterodyne components resulting from two periodic tones. Wagner musical Sublime timbres and fantasy C. It provides important clues about North German fortepiano music of late 18th century. Like Johann Zumpe’s square piano, Wagner’s Clavecin roïal played an important role in piano history that has yet to be demonstrated. Wagner’s workshop built not lesser than 805 in a span of 25 years. The Clavecin roïal’s construction was widespread at least until c.1800, having been built by numerous instrument makers. We can find the idiom of the instrument on Bach’s Kenner und Liebhaber rondos and fantasias. Bach’s ideal sound for improvising, emphasized in his Versuch. This kind of fortepiano was directly connected with C. Similar to the extra drama that we get in the theatre when we have a good lighting engineer, those sound mutations can be linked with the musical Sublime and the “Fantasia Principle”. ![]() Wagner’s craftsmanship created a sensitive keyboard with rich sound mutations operated by pedals, allowing whimsical sonorities. It was influenced by Hebenstreit’s timbre aesthetic that is to say by the pantalon’s tradition – the very German fortepianos – that has nothing to do with the Cristofori tradition. The Clavecin roïal was a sort of fortepiano in clavichord-form with mutations invented by Johann Gottlob Wagner in 1774. The aim of the project is to contribute to the new point of view in musical research by using instruments and performance praxis as primary sources, putting together organology, biomechanics in performance and musicology. The project involves the facsimile of the instrument, a book about the research, and a CD recording of it. The performing research project about the Clavecin roïal, that I propose, involves the first worldwide copy of said instrument by the German organologist and keyboard instrument maker Kerstin Schwarz. ![]()
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