Learning Aural Tuning

[Charles Neuman]

> From: "Alan R. Barnard" <mathstar@salemnet.com>
> I like and use Randy's pivot tone thirds, i.e., after tuning =
> F45, tune C#41 to get an even progression of F33-A37-C#41-F45-A49. =

Actually those are Jim Coleman's pivot thirds. Randy learned it from Jim,
and he incorporated Jim's and George Defebaugh's ideas in his own
temperaments.

I find those pivot thirds are a great way to get my temperament started. I
can often get that C# right on. If it's a little off, the thirds won't
progress quite right. As Jim Coleman says, "If you can set the pivot
thirds, it's impossible to set a bad temperament" (or something almost
like that, if I'm not 100% correct on the quote). I believe it.


> How do you really know that your A-A is ideal?...
> So what the heck does "about" mean?...

I can answer from a student's perspective (and not an expert). The way I
am learning to is try it, and then compare with an ETD. I don't just
guess, but rather give it best try without looking at the ETD, and then I
check my work. For example, I figure out what 7 bps should sound like, I
set the interval, and when I think I'm ready I'll check with TuneLab. I am
finding that I am getting more and more consistent.

I do have concerns about my octaves. I have set the inharmonicity in
TuneLab based on my piano. But there are different ways to set the
inharmonicity after the measurements are taken, so I wonder if the stretch
I am using is too much for the PTG exam. I would guess there is a range of
about .5 bps where two good tuners might set the octaves. So how does one
know if their octaves have the "correct" amount of stretch?

Charles Neuman
PTG Assoc, Long Island - Nassau