In a message dated 12/17/99 7:03:08 AM Pacific Standard Time, Billbrpt writes: << This is where closely voiced chords are played. It is easy to make the piano sound disharmonious by concentrating on favoring 4ths, 5ths and octaves and ignoring the 3rds. Moreover, the 3rds are pretty important all the way down to F2 but lose their importance after A3. After A3, you can let them become faster as you stretch the octaves to get more of the "singing tones" out of your 10ths. >> Dear List, I always try to correct my spelling and proofread content before I send a post but I often miss a fatal error in spite of my efforts. The above statement about the importance of 3rds to the harmony of the piano's midrange should indicate A4, not A3. I meant to say that in my opinion, the exact rate of beating of the major & minor 3rds & 6ths is most important between F2 and A4. Beyond either point, they become virtually inaudible and thus lose their importance. The wider RBIs, the 10ths, 17ths and other RBIs of over an octave become more important above and below these points. Within these areas however, is where closely voiced chords are played. If tuning involves listening to Slowly Beating Intervals (SBI) only and ignores the RBIs, cumulative errors can result in some odd, disharmonious sounding chords that are adverse to the music being played. Bill Bremmer RPT Madison, Wisconsin
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