Greetings all, Since he obviously dosn't know when to stop, I find myself compelled to respond to Mr. Bremmer's remarks directed towards me. The overly sensitive should just delete this, right now. Billbrpt writes: <<I really wanted Kent to announce the fact that the piano was tuned in an HT but he refused. As far as I'm concerned, the fault lies with that decision, not any that I made. << If the tuning can't stand on its own merits, what use is it? >>The 1/7 Comma Meantone has been determined to be a temperament useful for any type of music << Who determined that? >>My opinion of Ed is that he has consistently been known to regard Madison tuners, especially me as a bunch of nut case kooks who make life difficult for him. << Hmm, I don't know any "Madison Tuners" other than Tim. He doesn't make life difficult for anybody that I know of, regardless of the strength of his tempering. You, Mr. Bremmer, are the only nut case kook I have met in the Guild, and you certainly don't make life difficult for me. In fact, your stance has provided the perfect foil for a logical and rational approach to presenting the case for temperament variety. >>His opinion of the 1/7 Comma Meantone was and is still based on pure ignorance and emotion. The "mean" part of the word Meantone is what scares him.<< No, my opinion of the 1/7 C is based on what it sounds like. >>Ed also claims that the tuning I did in Milwaukee in 1993 drove people away from the HT idea. << Actually, according to many that have approached me about this, it wasn't the tuning that soured them, it was the tuner. >>Those who found that sound to be "out of tune" simply were not used to hearing that kind of sound and certainly did not expect it. <snip> This, of course is Ed's point and I contend that it is the Uncle Tom approach. << I have had too many people, classical and jazzers play(unknowingly) non-ET and love the sound. An appropriate tuning doesn't need to have the musician "educated" beforehand to be accepted. And why Mr. Bremmer would choose to attempt a racist angle in a temperament debate is totally beyond me. >>I think Ed reacted the way he did because he saw an opportunity to put himself forward in the eyes of the people he saw were upset. This was his chance to "score" and that's what he did and is still doing it today. << You think wrong, Mr. Bremmer. I said nothing about that program to anyone until you, (three years later) attempted to castigate Gina Carter and Kent Webb as leaders of a conspiracy. The odor about this is your own. >> Until Ed learns to tune the 1/7 Comma Meantone, makes a recording of the Beethoven Apassionata sonata in it, I'll always consider his remarks an assault,<< Don't hold your breath. I am well aware of how to tune a 1/7 C. and Beethoven's modulations suffer when performed in it(on a modern grand). Why would I make a recording that sounds so poorly? I have so far produced 2 recordings of a wide variety of temperaments, from 1/4 C to ET, for a variety of composers,(Scarlatti, Haydn, Mozart, Beethoven, Chopin, Grieg) so I am making my case for temperament propriety in that manner. The art of temperament is knowing what works for what music, and I don't think you have a clue. I suggest you to put your money where your mouth is and issue a 1/7C. CD of your own. Talk is cheap. Ed Foote RPT
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