New Bearing Plan for EBVT

[Billbrpt@AOL.COM]

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List,

After taking note of comments from other technicians who have tried to tune 
the EBVT, the following is a new approach to tuning it.  It does not change 
the basic results of what I've always done, it hopefully only makes the idea 
easier to understand and follow.  Later on, I will write a page or two of 
detailed notes and explanations for each step.

This simple bearing plan does not describe how to test intervals or how to 
adjust for inharmonicity.  I invite all questions and comments which will 
help contribute to the detailed notes pages.  

Happy EBVT tuning!

Bill Bremmer RPT
Madison, Wisconsin

   
               New Temperament Sequence (Bearing Plan) for the 
               Equal Beating Victorian Temperament (EBVT)

1.  Tune A4 to A-440 pitch source.
2.  Tune A3 to A4, stretching the octave to a a 6:3 type.
3.  Temper F3 from A3, a wide 3rd, estimating it to beat at 6 per second, 
     just slightly slower than it would be in Equal Temperament (ET).  
4.  Tune C4, a pure 5th from F3.
5.  Temper E4 a wide 3rd from C4, making it also beat at 6 per second.
     (about half the speed of the same interval in ET.)
6.  Temper G3 from E4, a wide Major 6th so that it beats exactly the same
     as the F3-A3 and C4-E4 3rds. (6 beats per second).
7.  Temper D4 from both G3 and A3 so that both the G3-D4 5th and the 
     A3-D4 4th beat at exactly the same mild rate. (Each one just slightly
     more tempered than in ET).
8.  Temper B3 from G3, a wide Major 3rd so that it beats exactly the same
     as the F3-A3, C4-E4 and G3-B3 3rds and the G3-E4 6th. (Approximately 
     6 beats per second).  Now, the F3-D4 6th may also beat at 6 per second.
9.  Tune F4 a pure 4th from C4.   This will make a pure sounding 4:2 octave 
      from F3-F4.
10. Tune Bb3 a pure 5th from F4.   
11. Listen to the resultant 3rd, Bb3(A#3)-D4.  Temper C#4 from A3  so that
      the A3-C#4 3rd beats exactly the same as the Bb3(A#3)-D4 3rd.
12. Tune F#3 a pure 5th from C#4.   
13. Tune G#3 a pure 4th from C#4.   
14. Temper D#4 from both G#3 and A#3 so that both the G#3-D#4 5th
      and the A#3-D#4 4th beat exactly the same as each other (slightly
      less tempered than in ET or nearly pure).  
15. When expanding the octaves do so in a manner which will cause the 
    2nd inversion major triads of C, G, D, A, E, & B to have the 3rd & 6th
    beat exactly the same.  The octave should be stretched enough so that
    there is a very slight beat in the single octave (approximately 1/2
    beat per second) and that the tempered 5th will beat slower than the
    4th. When both the 4th and the 5th were pure in the temperament, the
    octave will naturally be stretched a little less than an octave
    whose 4th and 5th are tempered.
16. When expanding the outer octaves, try to reconcile the double octave
    and the octave and a 5th (12th) so that the double octave and the 12th
    beat exactly the same. (A very slight beat, almost inaudible). This
    will naturally result in octaves which vary slightly in size up and
    down the keyboard. These will quite effectively be "tempered
    octaves".


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