Octave Stretch in other Lands

[Richard Moody]

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> From: Newton Hunt <nhunt@jagat.com>
> 
>In the bass the best test is
> the minor 3rd inverted to the major 6th.  This test checks the 6:3
> octave.

To me these are "murkey" in the bass, hard to hear all of a sudden, then
then they clear up for three or four more, then one or two murky again. 
But I suppose it takes a practiced ear just like everything else, and
tenths is what I have practiced on top to bottom. I can't prove it but
testing an octave to an interval outside the octave seems to have
advantages. One advantage is you can change a note that has not been tuned
if you want to hear a faster or slower beat.  On the other hand, with the
inside interval you can actually tune to beats, your span can reach it.
The problem it seems is guessing at beats.  Are the beats of this minor
third really the same as the beats of this major 6th? Which I must admidt
though, you can get pretty close.  Of course the same problem exists with
3rds and 10ths even though to me these beats are much easier to hear than
the m3 and M6 esp across the spectrum. So that is why in the final
analysis I have to hear the fifths and fourths just right, even after the
chromatic succession of thirds etc. sounds good.  And I can change the
sound (tonality) esp of the fourths esp into the bass without an
discernible change in the rates of the m3rds or 6ths.  
	
I must admit I haven't given much attention to the m3--M6 comparison and
it is interesting to try it. I should check it out more to see if the
first trials were not a quirk of the piano or lack of "a practiced ear". 

 
Richard Moody