If there isn't really equal temperment what about the other temperments? Is there more leeway in tuning a Victorian and still calling it a Victorian? Why would HT's be any different in that fashion that ET? David I. Date sent: Mon, 06 Dec 1999 22:24:01 +0100 From: Richard Brekne <richardb@c2i.net> To: pianotech@ptg.org Subject: Re: Tuning Acrosonics Send reply to: pianotech@ptg.org > > > Billbrpt@AOL.COM wrote: > > > In a message dated 12/5/99 8:19:34 AM Pacific Standard Time, > > kswafford@earthlink.net (Kent Swafford) writes: > > > > << My personal preference when dealing with a > > large difference in inharmonicity at the tenor break is to give up on > > smooth beat rates in the 3rds in favor of smooth beat rates in the 4ths, > > 5ths, and octaves. >> > > > > Hmmm.. An interesting thread really... Actually I'd like to point out that in a > sense the whole point is really that there is no such thing as ET at all. At very > best one can equally space only one and the same one partial for every string on > the piano. This is illustrated by the fact that a perfectly equal spaceing of say > the 4th partial for all 88 notes, is no guarantee that any other partial will be > equally spaced. In fact it is more like a guarantee that all other partials will > be unevenly spaced. Such an perfectly even spaceing of the 4th partial then would > automatically lead to some degree of uneven thirds, fourths, fiths,, all intervals > for that matter. So we are left to some degree with a comprimise situation. > > One can force a pretty even progression of major thirds... or one can go with 4ths > and 5ths. In good pianos you can get both to work out quite nicely. Which one you > choose in a challanging piano is in the end a matter of taste... within certain > rather vaguely defined parameters of acceptability. > > Add different stretchs into the equation and the "unequalness" of all partials and > coincidents outside of the present control or determinant set, can become quite > significant if you want to get picky enough to measure it all out. > > Jim Coleman got me started on this buisness with Baldersins book about six months > ago. We use octave types, 5th types and other types all the time without even > knowing it. In fact I am convince that most aural tuners dont really know > (conciously and easy to fetch from the back of the mind) much about these "types" > formally at all. I am also convinced that the more familiar one is with them, (on > a very concious and active level) the more powerful a tuning tool it becomes. I > find myself more and more being able to sit down and quickly discern another > tuners style because of an accute and increasing awareness of these types. In the > process I have begun to think less of different tuning styles and stretches as > right or wrong.. rather as one or another set of priorities from the tuner. Its > actually quite facinating. > > Richard Brekne > I.C.P.T.G. N.P.T.F. > Bergen, Norway > > > > David Ilvedson, RPT Pacifica, CA ilvey@jps.net
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