Just Intervals?

[Susan Kline]

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At 06:39 PM 5/9/2002 -0400, you wrote:
>Exactly my point! String players (generally) believe that a "just" major 
>third is wider than tempered. Therefore, many performances of Bach 
>Partitas and suites are done in these wider than tempered major thirds, 
>including my own teacher! This seems impossible, but it is true. I 
>observed a rehearsal of the Juilliard Quartet, the mentors for most 
>American ensembles, in which every time a third seemed out of tune, they 
>attempted to fix it by raising the third  (really high) to make it "pure".
>
>                                                Will talk some more,
>                                                Michael Meade, RPT

There, you see, I'm NOT crazy! We (well, a lot of us) likes 'em wide, as in 
BIG and WIDE, with high major thirds and sixths, succeeded by skinny svelte 
little semitones. (Glad you showed up, Michael.)

I have some more discussing to do with Bradley, which may help to sum up my 
mental model for intervals and string intonation.

Susan Kline, B.Mus., M.Mus., was a performing cellist, now an RPT. Played 
quartets (for a living) as part of orchestra jobs, etc., but not at the 
level Michael has. I did play quite a bit in piano combinations for a few 
years there, before I ever learned piano tuning. Intonation with a piano 
wasn't a problem, not like intonation inside a string quartet. I think that 
this is because string players on their own have such a variety of fairly 
plausible intonations, a much wider variety than a piano offers. The 
variations all come in thirds and sixths, or nearly all. 
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