Thanks for the kind words, Bill. Yes, I am working to update all my graphs with much better data. I have a copy of Jorgensen's Tuning now, which enables me to get the numbers more exact as well as to add a bit of commentary. I will publicize here when the new charts are up on my website. ----- Original Message ----- From: <Billbrpt@AOL.COM> To: <pianotech@ptg.org> Sent: Saturday, August 17, 2002 8:27 AM Subject: Fwd: ebvt offsets found (from Jason Kanter) | List, | | Jason Kanter has done some very excellent work both with finding true, | workable "correction figures" for my Equal Beating Victorian Temperament | (EBVT) and making a comprehensive and easily readable graph for it. If he | makes the same kind of graph for some other commonly used temperaments, he | will have done very excellent and valuable work for the tuning profession. | | Below are his raw figures. In programming your ETD, just round off as would | be appropriate. Still, as Jason noted, he could not address the unique but | very *human* way in which I stretch the octaves that no computer can yet | handle. However, if you program you ETD, you will be close and you'll get a | good tuning. If you want to tweak your octaves to get the exact sound I do, | it will be a simple matter to do that aurally once you've followed the curve | the ETD has produced. | | Just see my website for the page on "How to Tune Tempered Octaves". And as | always, see it for the way to tune the EBVT aurally. Even that page needs to | be updated. I have gone to tuning the initial F3-A3 interval at 6 beats per | second, then tuning a pure F3-C4 5th, an F3-F4 4:2 octave which creates a | pure C4-F4 4th, then filling in the Bb3 which will be a pure 4th to F3 and a | pure 5th to F4. When the F3-Bb3-C4-F4 are all played together, there should | be a pure, beatless sound. This provides for a certain aspect of crystal | pure clarity which can be found in no other historically documented Victorian | era temperament nor in any other contemporary mild, Well Tempered Tuning. | | Furthermore, Jason noted that when this temperament is tuned correctly, the | C3-E3-G3 triad will sound much purer than it really is. The C3-E3 3rd beats | at 3 beats per second, the E3-G3 5th beats at 6 beats per second. This is an | example of what is known as *Proportionate Beating*. In this case, for every | 1 beat, there are *exactly* 2 more. In other cases there can be 2:3 and so | on. Just as with *Equal Beating*, there is a unique *canceling out effect* | (or phenomenon, perhaps) which causes a certain cleanness or clarity which | cannot be produced in any other way. | | While ETD programming of some historically documented temperaments can | perhaps produce some of these effects by happenstance, the only real way to | get them is by careful and deliberate design in aural tuning. | | Are you reading this, David Anderson, Malibu, CA? I like Virgil's tuning | too. And that's why I asked him to demonstrate an aural ET tuning at the | Temperament Festival at the 1998 Convention. His tuning held up as being the | *best* until it was compared side by side with mine in the final round. The | rest is History. | | I have asked Jason Kanter to either post his graph to the list or offer it to | be sent privately. I will send it privately upon request, not wanting to | post any attachments to this list. It will also be posted on my website as | soon as I can manage to get it on there. | | Bill Bremmer RPT | Madison, Wisconsin | <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> |
This PTG archive page provided courtesy of Moy Piano Service, LLC