Hey Bill, You are finally starting to see the light <G> Hang in there fella. Joe ----- Original Message ----- From: <Billbrpt@AOL.COM> To: <pianotech@ptg.org> Sent: Saturday, June 24, 2000 6:37 AM Subject: Re: Bach and E.T. or W.T. > In a message dated 6/24/00 9:07:31 AM Central Daylight Time, > DonMannino@mediaone.net (Donald Mannino) writes: > > << Similar to your experience, after hearing a recital of beautiful piano > music on a well-tuned equal temperament, the mild Victorian Well I put into a > piano at the office sounds, well, a little coarse and uneven when some pieces > of music are played (the slow movement of the Hammerklavier, for instance - > all kinds of modulations, starting and ending in f# minor. So far I have not > found an unequal temperament that sets well with the mood of this piece). But > after practicing on the unequal for an hour or so, I don't mind it and can > appreciate it more. >> > > Oh, I don't know, Don. It's always wisest to stick with conventional wisdom > and standard practice, isn't it? Why do you think the PTG Tuning Exam has ET > with 2:1 octaves in the 7th Octave? It's because that is the only way a > piano sounds right. At least that is what I've been told. > > This whole business of unequal temperaments is pure malarkey, you know. > Everybody knows that Bach invented ET and wrote the ET Clavinova Music to > prove how good it is and that it has been universally accepted by all > composers and musicians ever since. And that guy in Australia is right. > You proved it to yourself, too. If you start messing around with these > unequal temperaments, they just might start sounding good to you. If they > start sounding good to too many people, musicians might start choosing > digital pianos instead, where they can have any weird temperament they want > at just the touch of a button. Now, that's something to be concerned about! > > Everybody knows that Beethoven always had his Broadwood tuned in perfect ET > at all times. All 3rds smoothly ascending and descending, perfect 4:5 > contiguous 3rds throughout. He never dared stretch an octave either. That > would have spoiled the whole effect. When he wrote that HammerClavinova > sonata, he chose the key to write in just because it sounded right in that > key and for no other reason. He wanted all those modulations to be smooth as > silk, no rough stuff for him! > > Now, you wouldn't dare have a Kawai piano tuned in an HT at the Convention, > would you? Why take such a risk? Someone might complain about it. A group > of irate tuners might come up to you and demand that this never be done > again. You might get some threatening letters. If the corporate directors > hear about any complaints, you might lose your job! > > ET is always the safe way to go. No one will ever complain about it. All > music will sound the way it's supposed to and the way everyone expects it to. > Why get suckered in on such a folly when there will be no possible benefit > to it? Do the right thing, do ET and do ET only and forever more. Time and > the future will prove that you made the wise decision, the only right > decision to make. > > Bill Bremmer RPT > Madison, Wisconsin >
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