D. Ledbetter Bach's Well-tempered Clavier

p.35 Chapter Two. This chapter was written before Andreas Sparschuh, of
the Technische Universität Darmstadt, proposed an interpretation of
Bach’s temperament based on the decorative patterns at the top of the
1722 title‐page (paper read at the Deutsche Mathematiker
Vereinigung Jahrestagung, Mainz 1999, for which he earned the
Golden Tuning Fork of the German Tuners’ Association). A different
interpretation was subsequently proposed by Bradley Lehman (Early
Music 2/2005 and 5/2005, with replies 8/2005). Two responses to
Lehman’s conjecture were published in Early Music 11/2006, by Mark
Lindley and Ibo Ortgies, and by John O’Donnell. While all these
conjectures are of great interest, I see no reason to revise my
fundamental points: 1) that it is most unlikely that Bach stayed with a
single method of tuning throughout his career, and 2) that as a
practical musician he is unlikely to have adhered rigidly to a
mathematically formulated tuning at any stage of his career. The story
of Johann Nikolaus Bach’s competition with Neidhardt (and his
monochord, see pp.39–40) would seem to corroborate this.
p.41 fn 31: Kerala Snyder has recently withdrawn her proposal that the
Marienkirche organs were tuned to Werckmeister III in 1683 (Dietrich
Buxtehude, Rochester NY: University of Rochester Press, 2/2007,
pp.84–6).
p.44 para.1 line 4 < on g�� ; the >
p.80 para.1 line 8 < delivery or pronunciatio/executio >
p.90 para.1 table: numbers should be aligned to show correspondences:
p.91 para.1 table: ditto
1 2 3 4 5 6 7 8 9 10
10 9 8 7 6 5 4 3 2 1
1 2 3 4 5 6 7 8 9 10 11 12
12 11 10 9 8 7 6 5 4 3 2 1
p.96 para.1 line 8 < Bach also begins >
p.127 para 3 line 5 < in a way >
p.164 para.1 line 7 < perforatum >