New Bearing Plan for EBVT

[Mike and Jane Spalding]

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Bill,

Thanks for the post, and the explanation of "reverse well" as an error =
in ET.  Sounds like if I start with "pivotal 3rds", and am careful with =
the contiguous 3rds and 6ths tests, I should be able to avoid this. =20

For the "tests and troubleshooting" topic, I guess I didn't give enough =
info with my question.  I am familiar with the tests for 4ths and 5ths, =
and am capable of producing a pure or tempered interval.  However, step =
14 of the EBVT plan says:

14. Temper D#4 from both G#3 and A#3 so that both the G#3-D#4 5th=20
     and the A#3-D#4 4th beat exactly the same as each other (slightly=20
     less tempered than in ET or nearly pure).  =20

The pitch of G#3 is established in step 13, and  A#3 in step 10.  So any =
error in steps 2 through 13 could cause the G#3 A#3 relationship to be =
off.  If after tempering D#4 from these notes to produce equal beating =
intervals, the beat rates are not "slightly less tempered than in ET or =
nearly pure", but beating at about 1.5 to 2 beats/sec, then something is =
wrong with the relationship of G#3 to A#3 (too narrow, I think), and one =
must presumably go back through some or all of the preceding steps and =
make some alterations.  Can I compromise the F4 A#3 pure 5th and the C#4 =
G#3 pure fourth to solve this problem, or do I need to go back further =
and correct some earlier problem?  Start over using 6.5 bps or 5.5 bps =
instead of 6?

In a general sense, I was asking for some tests within the sequence to =
identify problems early on, rather than at the end of the last step.  In =
ET, after each note is tuned, there are checks which reference from the =
first few notes tuned, to keep from wandering too far off.  Sometimes =
these tests tell you that one of your first intervals is too wide or too =
narrow, and the sooner you find out, the better.   Are there analogous =
checkpoints in EBVT?  At what point in the sequence can you find out if =
the 6bps set in step 3 needs to be made a little faster or a little =
slower?  Or maybe a sequence at the end to verify the whole thing and/or =
identify one or two wrong notes?  In ET, you run 3rds, 4ths, 5ths, and =
6ths up and down correcting uneven progression, prioritizing which =
intervals to compromise.  What do you do to verify EBVT, and what is the =
best priority for compromise?

thanks for your help and your patience,

Mike Spalding

----- Original Message -----=20
  From: Billbrpt@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Thursday, June 07, 2001 7:03 AM
  Subject: Re: New Bearing Plan for EBVT


  In a message dated 6/7/01 6:42:25 AM Central Daylight Time,=20
  mjbkspal@execpc.com (Mike and Jane Spalding) writes:=20



    please try to include tests and troubleshooting, for example "if the =
A#-D#=20
    4th and G#-D# 5th beat too fast, then.....  ". =20


  These intervals are tuned pure in EBVT.  They don't beat at all.  To =
test the=20
  purity of a 5th, find the note which would make a minor chord, drop it =
down=20
  an octave.  Play that note against the bottom note of the interval, =
then=20
  against the top.  If both intervals beat exactly the same, the 5th is =
pure.=20

  To test for a pure 4th, find the note a major 3rd below the bottom =
note of=20
  the interval.  Play it against the bottom note, then against the top =
note.  =20
  When both intervals beat exactly the same, the 4th is pure.=20


  I
    n past posts, you've referred to "reverse well temperament, the most =
common=20
    error made by aural tuners attempting equal temperament"?  What is =
reverse=20
    well?  How can I watch out for, and avoid or correct it as I'm =
setting an=20
    equal temperament?


  In any Well Tempered tuning, the chromatic 3rds will have a markedly =
uneven=20
  pattern of beating which is in alignment with the cycle of 5ths:  slow =
for no=20
  or few sharps or flats, faster for 3 or 4 sharps or flats and very =
fast for 5=20
  or 6.  Equal Temperament is very difficult to get exactly equal if =
only 4ths=20
  and 5ths are used to tune.  Most people will make some kind of error =
and thus=20
  produce uneven 3rds.=20

  The most common mistake is to make the 4ths and 5ths among the white =
keys too=20
  pure which will cause the 3rds to be uneven but in *opposition* to the =
cycle=20
  of 5ths.  This will make virtually all music played have an out of =
focus,=20
  unbalanced sound to it.  I've encountered this kind of error =
everywhere I've=20
  gone, north, south, east, west, at Steinway Hall, other piano stores,=20
  schools, theaters, at the PTG Convention, everywhere.=20

  I'll be in Los Angeles for the weekend, returning Monday night.=20
  Bill Bremmer RPT=20
  Madison, Wisconsin=20

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