tuning <> TUNING

[A440A@AOL.COM]

Greetings, 
Oleg writes,  and I contend with:
 
>When tuned in  HT, or even alternate quasi ET, the instability will not
>be hear because it is very few musicians only that can check for example the
>color of a tuning and say if they agree with it (I've experimented that
>in tuning 2 instruments in reg meantone for a small ensemble for 12 days)

   Wow,  if you are experimenting with Meantone and only a few musicians 
notice, I wonder about the ears of these musicians!!  Maybe I am reading the 
post wrong, but a musician that doesn't distinguish between ET and Meantone 
is not listening very closely at all, and would be easy to please. 

 >When the people will accept an alternate temperament, they will accept
>that their piano will be less in tune in fact than with ET.

   I don't understand.  Are you meaning to say that ET is more "in tune" than 
the alternatives?  If so, then we have to define "in tune" by something other 
than the amount of consonance available, since ET has virtually no physical 
consonance at all.  

in another post, Oleg writes: 

>The A's where may be the same if you did not move them more than 0.3 cts,
>but , sorry , I don't believe that you can move so much from meantone to ET
>on a candidate for re stringing and have any stability one way or another.

   Well, in the Meantone tuning,  I moved the 
Bb= + 17 cents
B   = - 7 cents
C = + 10.3
C# = - 13.7
D  = +3.5
Eb = +20.5
E = -3.4 
F = +13.7
F# = -10.3
G = +6.8
G# -17.1
A  = 0 

This totals about 70 cents up and 54 cents down for a total of 16 cents 
difference spread over 6 of the notes.  That equates to about 2 cents per 
note,with the A staying the same.  It isn't hard to see that there was a .3 
cent change in the piano, is it?  
   The changes in pitch raises occur from the flex of the soundboard and 
plate. When there are some notes going up, and others going down,  there is 
an equalization process.  At least, this is why I thought there was so little 
change.  
Regards, 
ED Foote