224. Palma tunes his harpsichord after Palmina’s lute
And as Palmina heard so directly music from Palma’s heart she realized that she started to dream and Palma put his arm around her during that and she smiled.
Also Palma did. And he could feel her smile at the beginning of this Peony Gondola hour at 23 o’clock. Palmina smiled very strong, Palma could feel it and smiled also, it was not possible not to smile.
Palma dreamed also, the same dream in this moment, in this Peony Gondola hour at 23′ o clock.
And they continued to dream and they saw this:
* * *
Palma was sitting on his harpsichord and realized, as he finished tuning it, that if he tunes his harpsichord after the Lute of Palmina, in well tempered half tones, it was possible to modulate a music through all half-tones in Magior and Minor.
But Palma tried out to play now and it was possible!
Normally here in Venice, in this 16th century, it was not possible to do so on a harpsichord or an organ – the instruments are tuned to play only in a few scale but not in all 12 semitone scale.
Palma will next week ask an organ-tuner to tune a little organ after Palmina’s semitones.
»Do you think, Palmina, he will tune the Organ like my harpsichord in equal like Well-tempered *) 12 semi-tones like your lute and my mandolin are already tuned?«, Palma asked loud, hoping that she is in the room nearby, listening him and that she will come to him in the big representative room of his flat on the San Marco Place in Venice, in the 2nd floor.
picture – circle of fiths needs the „well tempered tunning“ – the „Well temperament“ *)
»Yes, Palma, Yes…I think he will try it after you have shown him how your harpsichord is tuned…wait, I come…«, Palmina answered from the other room.
And now Palmina came with her lute to make music with Palma.
This moments are the most beautiful moments in Palma’s painting and artis’s live.
Palmina is with him and they are now alone, and they only want to do one thing: To make music, to feel the music-harmonic-connection between their hearts.
Palma played a few notes to test his new „lute-tuning“ of this instrument.
And suddenly he felt inspired with thinking on his pure pigeon, his snow-white saint spirit pigeon, bringing him always to new inspiration for his painting music creativity.
And Palma played and played and he tried out this new „Well tempered -12 semi-tons equal-tuning.“
* * *
As they saw this Peony-Gondola vision Palmina was very proud on her Jacopo Palma il Giovane, her painter, her composer, her love-story writer, her deep and only love.
Again she put her head on his side and continued to hear music and it was like that:
VIDEO: (Piano solo at the vegan backery Art-Gallery-Cafe ) https://youtu.be/PsKViSqB6QE
* * *
(to be continued…)
Read also the other CHAPTERS of this story
»Palma il Giovane – The Peony Gondola« here:
ALL CHAPTER OVERVIEW:
*) Well temperament – Wikipedia – https://en.wikipedia.org/wiki/Well_temperament
„WELL TEMPERAMENT (also good temperament, circular or circulating temperament) is a type of tempered tuning described in 20th-century music theory. The term is modeled on the German word wohltemperiert. This word also appears in the title of
J.S. Bach’s famous composition „Das wohltemperierte Klavier„, The Well-Tempered Clavier.“
„The first circular temperament was described by the organist ARNOLT SCHLICK**) in the early 16th century, but „well temperaments“ did not become widely used until the baroque period. They persisted through the classical period, and even survived into the late 19th century in some areas, for example in Italy. 
There are many well temperament schemes, some nearer meantone temperament, others nearer equal temperament. Although such tunings have no wolf fifth, keys with many sharps or flats still do not sound very well in tune (due to their thirds). This can contrast chords in which vibrations are concordant with others where the vibrations are not harmonically related. Some theorists [weasel words] have sought to define „well temperament“ more narrowly to exclude fifths wider than pure, which rules out many such schemes.“
**) Arnolt Schlick – Wikipedia – https://en.wikipedia.org/wiki/Arnolt_Schlick
Arnolt Schlick (July 18? c. 1455–1460 – after 1521) was a German organist, lutenist and composer of the Renaissance. He is grouped among the composers known as the Colorists. He was most probably born in Heidelberg and by 1482 established himself as court organist for the Electorate of the Palatinate. Highly regarded by his superiors and colleagues alike, Schlick played at important historical events, such as the election of Maximilian I as King of the Romans, and was widely sought after as organ consultant throughout his career. The last known references to him are from 1521
The first circular temperament was described by the organist Arnolt Schlick in the early 16th century, but „well temperaments“ did not become widely used until the baroque period. They persisted through the classical period, and even survived into the late 19th century in some areas, for example in Italy.
There are many well temperament schemes, some nearer meantone temperament, others nearer equal temperament. Although such tunings have no wolf fifth, keys with many sharps or flats still do not sound very well in tune (due to their thirds). This can contrast chords in which vibrations are concordant with others where the vibrations are not harmonically related. Some theorists[weasel words] have sought to define „well temperament“ more narrowly to exclude fifths wider than pure, which rules out many such schemes.
Some well-known well temperaments go by the following names:
Werckmeister temperament (invented by Andreas Werckmeister)
French Temperament Ordinaire
Vallotti (invented by Francesco Antonio Vallotti)
Some temperament schemes feature numbers of perfect, pure fifths and these give enhanced harmonic resonance to instruments and music on which they are played so that music moves into and out of focus between keys as vibrations lock together or not. Werckmeister features 8 perfect fifths, Kellner 7 and Vallotti 6.
The contemporary composer Douglas Leedy has written several works for harpsichord or organ in which the use of a well temperament is required.