In a message dated 4/6/99 3:23:16 PM Central Daylight Time, severanc@mail.wsu.edu writes: << In other words, for me, what the temperament can add or subtract in comparison to more important elements is insignificant in the broader framework of what we are trying to do as musicians. It's a non-issue. Even though I find ET suits my purposes quit well I wouldn't refuse to play a piano tuned in an another temperament any more than I would refuse to play a grand that had a high gloss finish instead of satin. Just personal opinion, nothing more. (Snip)>> David, Thanks for your response. I have always maintained that temperament in itself is only a very small part of the piano's sound. A few days ago, I said that a difference in temperament would affect the sound of the piano more than it would the music. This is actually in line with what you are saying. The kinds of differences I advocate in temperament tuning are like those of very refined voicing techniques. They aren't really considered part of what a technician must know to do professional quality work. They go beyond that. In order to be effective with them, you really have to be able to tune precisely and with very solid stability. I'm afraid there are some however who would rather see mediocrity and even substandard practices be the norm and even prevail. Those will be the people that insist that only ET is proper, claim to "know about" all the alternatives yet are not really capable of producing what they have made claim to. They don't want HT's to become a popular practice because it will mean that they must learn how to do them effectively too. That would be just too much to ask. The only thing I can and will do is continue in the direction I have been going, try my best to interest those who are capable of setting higher goals and standards and leave those who are satisfied with things the way they are behind. Sincerely, Bill Bremmer RPT Madison, Wisconsin
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