--- "owen j. greyling" <greyco@kingston.net> wrote > If anybody who has done so, would care to comment on > how you have began using EBVT or any temp besides > ET, with your regular clientele, I'm looking for > suggestions. > Hi Owen How to start? I am not a historical temp. expert , but I have had a couple positive experiences with starting I can share. I started with the daughters viola teacher. I have been reviewing Bill B.'s pages on how to do it and will try this at home. Having a studio set up I intend to record a few short samples, compressed into MP3 files, for people to review. I have tried a little improvised variation to date for a couple clients. They are forever accompanying their begginer and intermediate violin students on piano. Violins seldom play in flat keys. I think 50% of the material on her piano is in D and G major, allowing for some open strings on the violin, and easy first and third position playing. Db puts them in a horrible half position that is quite awkward. I'd guess another 30% is in C, A, E, and 10% in B, Bb, and less then 5% in any other key. Almost never Db or F#. I'm extrapolating from the Suzuki books, the material on her piano, and my daughters viola experience. So I lowered F# slightly improving the D major third at the expense of F# and the fifth of B major, Except I lowered the B slightly to improve the third of G major, keeping the B-f# better, at the expense of the third of B major and the fifth of E major. I stopped here and she loved it. I didn't tell her what I did, but she notice the nice third. In orchestras they like lowered thirds allot, always tempering tonic thirds down, and leading tones thirds up, giving more purity to tonic and more bite to dominant in whatever tonality they happen to be passing through. Next time I went further with it....add lower E slightly to improve C majors third, improve the E-B fifth, at the expense of E major, and making A-E at little noisier. G slightly up to make C to G pure at the expense of Eb major. I did lower C# a bit for A major, leaving a biting third in Db, and a noisy fifth in F# major. Similarly with G# with similar expenses to Ab and Db So to review, lower F#,B,E, as thirds, raise G slightly, lower C# and G# slightly. How much....hmmm a little bit, decide how much dissonance you can bear on the other side, and how remote you feel the related tonal centers are. This leaves very nice, D, G, C, major a nice third in A, and E major fifth moves a bit. Leaves Bb, Eb, F, ok, B with some bite. Db, F#, Ab.. bad, oops, sorry, "with more color". > Thanks, All > Owen (near Kingston, ON, Canada) > > ______________________________________________________ Send your holiday cheer with http://greetings.yahoo.ca
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