This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment List, A virus was sent to me via a "CHORES" attachment. If any receive this = from me=20 DO NOT OPEN Regards Tom Servinsky,RPT ----- Original Message -----=20 From: Paul=20 To: pianotech@ptg.org=20 Sent: Friday, October 19, 2001 9:44 AM Subject: Fw: Quasi ET ----- Original Message -----=20 From: Billbrpt@aol.com=20 To: tunenbww@clear.lakes.com=20 Sent: Saturday, October 13, 2001 10:27 AM Subject: Re: Quasi ET In a message dated 10/13/01 9:04:55 AM Central Daylight Time, = tunenbww@clear.lakes.com writes:=20 Bill=20 Sometime ago you responded to the list with a temperament as I = recall you stating being used by Horace Greeley and others as an = alternative to ET. I should have brought the description with me, but = anyway, I've been trying it and it does have a nice openness to the = sound. My difficulty is setting the F3 to a good Major 3rd below the A3. = I haven't figured out a reliable method. I was wondering if you have a = technique I could try.=20 Thanks for your time and considerations.=20 Paul Chick The 3 contiguous 3rds, F3-A3, A3-C#4 and Db4(C#4)-F4 are *exactly* the = same as in regular ET. Therefore, set your F3-A3 *exactly the same* as = you would when tuning ET, whatever your technique may be is. Aurally, = you would estimate 7 beats per second, then tune the F3-F4 octave and = fill in C#4. Adjust all intervals until you get the proper 4:5 ratio of = contiguous 3rds and a good sounding stretched octave.=20 The F3-F4 octave is usually best as a compromise between a 4:2 and 6:3 = octave. To get that, use the test for 4:2 which is Db3(C#3)-F3 then = Db3(C#3)-F4. If they are exactly the same, you have 4:2 octave. If the = upper interval is *slightly* faster, the octave is stretched more than a = 4:2. Now test for 6:3. Play F3-Ab3(G#3) and Ab3(G#3)-F4. If both are = exactly the same, you have a 6:3 octave. If the upper interval is = *slightly* slower, you have the octave stretched less than 6:3. Try to = find the spot where the 4:2 tests a little wide and the 6:3 a little = narrow.=20 This is a very fine distinction. Electronically, it would probably be = less than 2 cents. A piano with low inharmonicity (such as most Kawai, = M&H, Baldwin Concert Grands) would reveal practically no distinction = between the two. A piano with high inharmonicity (such as a Steinway) = would provide an easily audible distinction. Yamahas are usually in the = middle.=20 If you use and electronic program such as the FAC, simply tune the = notes F3-A3-C#4-F4 according to the program and use the above aural = tests to make any adjustment if necessary.=20 After tuning F3-A3-C#4-F4, simply tune a pure 4th and 5th from each of = these notes. Use the test for a pure 4th or 5th to prove. I use the = SAT in the Direct Interval mode to prove. With practice and good = understanding, it is quickly and easily done. After that, place the = note G3 so that it beats exactly the same between C4 and D4. Place the = note B3 so that it beats exactly the same between F#3 and E4. Finally, = place the note Eb4(D#4) so that it beats exactly the same between = Ab3(G#3) and Bb3(A#3).=20 This will produce 3rds and 6ths which will sound identical to those in = ET. Most of the 4ths and 5ths will sound really good because they are = pure. You will have just a few "wobbly" ones. (Now ask yourself, who's = aural attempt at ET doesn't?). In my opinion based on many years of = observation, very few aural attempts at ET are clinically perfect. They = are almost always a *Quasi* ET. (Quasi means "almost").=20 I strongly suggest you use my Tempered Octaves method for tuning the = octaves. This will give your piano a "crystal clear" sound and will make = the "wobbly" 4ths and 5ths in the temperament octave range become = inaudible in the outer octaves. If you have not read my essay on = Tempered Octaves, please request it, I will send it in a separate post.=20 If you feel this answer to you would be useful to the List in general, = please feel free to forward it. There are always new subscribers who = have not read of this idea before. By the way, it is properly known as = the "Marpurg-Neidhardt Composite Quasi Equal Temperament". It is close = enough to regular ET to fall within the tolerances of the PTG Tuning = Exam. In my opinion, it could be freely substituted for ET under any = tuning circumstances, including high level concert tuning without the = technicians feeling an ethical need to disclose any techniques = whatsoever.=20 Please let me know of your experience using it.=20 Bill Bremmer RPT=20 Madison, Wisconsin=20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/c3/34/ab/f2/attachment.htm ---------------------- multipart/alternative attachment--
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