6:3 bass octaves---why?

[Alan R. Barnard]

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Bill:

"Of the seven deadly sins, anger is possibly the most fun. To lick your =
wounds, to smack your lips over grievances long past, to roll over your =
tongue the prospect of bitter confrontations still to come, to savor to =
the last toothsome morsel both the pain you are given and the pain you =
are giving back-in many ways it is a feast fit for a king. The chief =
drawback is that what you are wolfing down is yourself. The skeleton at =
the feast is you."
                                               Frederick Buechner.

Alan Barnard
Just a thought from Salem, MO
  ----- Original Message -----=20
  From: SidewaysWell1713@aol.com=20
  To: pianotech@ptg.org=20
  Sent: Thursday, November 28, 2002 2:37 PM
  Subject: Re: 6:3 bass octaves---why?


  In a message dated 11/27/02 8:53:25 PM Pacific Standard Time, =
Tvak@aol.com writes:



    OK.  I can tune a 6:3 octave in the bass.  But why?  Musically =
speaking, why=20
    a 6:3 octave?  Why would we choose to make sure that THOSE two =
partials are=20
    in tune?  Why wouldn't the single or double octave be more important =
in=20
    musical terms?

    Musically speaking, why wouldn't the 2:1 octave rule throughout?  I =
could=20
    even see the musical rationale for a 4:2 octave in the bass, making =
sure that=20
    the the double octave is clean, but why make the octave + 5th be the =

    determining factor in that area of the piano?=20

    When I think about this as a musician, it doesn't add up to me.

    I do it.  But I don't know why...

    Straighten me out,

    Tom S



  6:3 octaves for the bass are only a general recommendation.  It's what =
programs like the FAC program shoot for but of course, if you tune what =
Ed Foot calls "JUNK", the kind of piano every manufacturer from Steinway =
on down make, that may or may not be the best option.

  The partial which is an octave and 5th above the fundamental is very =
strong on most bass strings.  In the lowest strings, the double octave =
and 5th is very strong.  "The squeaky wheel gets the grease" idea =
applies here.  The whole reason for tempering is to resolve the cap or =
"comma" between the octave and the 5th.  Therefore, tuning octaves which =
tend to resolve that problem make the piano sound better, both higher =
and lower.

  Richard Brekne has recently done some work along these lines.  I've =
done essentially the same thing for some 20 years.  Of course, Ed Foote, =
who thinks he is always right about everything, says my octaves, "don't =
make sense at all".  See my website, learn to do what I do and find out =
for yourself.

  Bill Bremmer RPT
  Makes no sense at all=20

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