Scales of Life
It's March 31st, 2006.
Nothing very significant about the date, but just to reflect on it, it means that another month has disappeared. The end of March seems to be the REAL demarcation point between the winter and summer seasons. We just finished off the last of the sap run into four gallons of pure maple syrup. Today was rather sultry - humid, warm, breezy with intermittent showers and sunny spots. I just came in from a night walk.
The moon is at that 'fingernail' stage, with a very good earthshine. The stars are spectacularly brilliant against that post-sunset bluish black. The clouds to the south are reflecting some distant lightning, and Orion and Pleiades are standing guard. The first night of the year to hear the frogs singing again, which means the frost is well out of the ground. And its Friday, the last of the month.
Tomorrow is the first of April, 2006. Nothing very significant about that date either. It says April Fools Day on the calendar - better known as National Atheists Day in this neck of the woods. But for us 'nonFools', it just means the beginning of a new month, the Sabbath, and the first REAL spring month.
Yesterday I tuned a piano that belongs to some friends of ours. Nothing very significant about that either, but it happens to be something that provoked me to draw some parallels with.
Pianos are tuned to what is known as 'equal temperament tuning', which was first successfully promoted by J.S. Bach. To obtain a well-tempered scale, two things are absolutely necessary:
1)Not all intervals can be 'perfect' intervals.
2)The intervals must be evenly balanced in order to obtain the versatility of using more than one scale - it must work in all twelve major scales.
Anyone can tune to a perfect interval, but that won't get you a well-tempered piano.
The difficulty comes in knowing and hearing exactly how much to flatten the fifths in order to make the corresponding third equally useful. It's not very much, but it has to be absolutely the right amount. You can't get away with any amount of discrepancy in any of the scales. If you're wrong anywhere, it will be wrong everywhere. With one tuning fork, one note is calibrated, and all eighty-eight keys are tuned to that calibration.
There's a certain dogged perseverance to this type of thing. I'm not an expert, so it takes me a full two hours and then some to get a result I'm happy with. Once you start, there's no leaving it unfinished.
That brings me to a point which I observed in all this:
Life has similar realities. If we take one scale and think we are working it into perfection, with perfect intervals, we will get what is called a meantone temperament, and that tuning will be only useful in that one scale - all the others will be horribly dissonant.
But for an equal-temperament, there are only two perfect intervals - the unison and the octave. The fifths must be slightly flattened, or the thirds will be horribly sharp. That adjustment is so minute that by itself most people do not notice it, but it makes all the difference needed for the temperament of the piano scale.
That's not compromise. That's something called grace. The right amount, in the right place, creates the versatility of keys that has made the piano what it is - the king of musical instruments.
Have you ever noticed that God didn't say that the earth was perfect when He had finished creating it? He said that it was 'good'. That wasn't a 'good enough', that was simply 'good'.
The unisons must be perfect. There can be no compromise, because they form every note in the piano. Each interval, however, has just the right amount of grace to sound pleasant in twelve major and twelve minor keys.
Simply put, the Well-Tempered Klavier.
