Grin... this is a case in point about how ETD's and Aural attention each on their own, and especially when combined can be very valuable. I would guess that you would find some holding point to each of the tuned octave types you noticed. This would tell you very much about the style of the individual tuner. And yes it is facinating. And it leads to more facinating stuff about the total tuning style of a tuner. Whether or not one or another style is more "correct" then another quickly becomes a much foggier picture. In a sense we all probably "colour" a tuning each in our own way. Within certain parameters, any talk of what is correct and what is wrong has really little or no meaning. I hope to get to the point where I can quickly idendify and duplicate any tuners ET style and stretch. A daunting task really, but I think one worthy of pursuing Leslie W Bartlett wrote: > > We, well, actually, I, brought up the idea of "what's an octave" at > meeting yesterday. I kind of figured there's a whole lot of disagreement > about what such is. Sure enough, five persons tuned an octave, each on > an adjacent note, and we had at least three different octaves, just by > listening to the octaves, no tests. When we did tests, there were five > different octaves, no one agreed as to what constituted such. > > I find that quite fascinating. > les bartlett > ________________________________________________________________ > YOU'RE PAYING TOO MUCH FOR THE INTERNET! > Juno now offers FREE Internet Access! > Try it today - there's no risk! For your FREE software, visit: > http://dl.www.juno.com/get/tagj. -- Richard Brekne Associate PTG, N.P.T.F. Bergen, Norway
This PTG archive page provided courtesy of Moy Piano Service, LLC