I dunno. I usually tune 4:2 octaves on all plain wires and 6:3 octaves starting with the first wound string I find, whether its below the break, in the tenor, or even--bless "Dolly" and all her kin--within my f33-f45 temperament. Should I be this rigid or would others who've been "out there" so much longer please suggest guidelines they use. Alan Barnard Salem, MO ----- Original Message ----- From: "Richard Brekne" <Richard.Brekne@grieg.uib.no> To: "PTG" <pianotech@ptg.org> Sent: Monday, August 05, 2002 12:25 PM Subject: Beat Rates in music > Hi folks > > I know this subject has come up relative to the use of > historical temperaments before, but I am curious about how > the amount of stretch in an ET tuning can be / is conciously > employed as a part of the music played. > > I think is generally aggreed upon the the more stretch in > general there is, the more tense the general sound of the > tuning is. Clearly a Moonlight Sonata played on a fine > instrument tuned with a lot of stretch imployed based on a > wide 6:3 temperament octave is going to sound different then > the same piece played on the same instrument where the > temperment and stretch are very compressed. Perhaps it is > possible to colour a musical piece through the general > tenseness of the tuning ? > > I wonder also if anyone uses this technique as a voicing > tool. I find that the more tense (stretched) the instrument > is, the more is takes on a hard like character, and the more > compressed the tuning the more roundlike and mellow the > instrument sounds. > > I get the feeling most tuners learn one style of stretch and > rarely change that. How many of you place any value on the > the ability to adjust stretch in relation to the two above > criteria, even when your own basic taste for stretch is at > odds with these ? > > Thanks for your thoughts. > > RicB
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