Learning Aural Tuning

Isaac OLEG oleg-i@wanadoo.fr
Mon, 23 Sep 2002 13:29:44 +0200


Hello, David,

I just guess that is the differenence between tuning 'musically' and
tuning by the beat rate.

What is very amazing is that the first approach, while being much more
agreeable, is not less precise, and even probably better.

Some tuners are so accustomed in hearing the good sound that their
thirds fall exactly where the best computerized ETD can land, and that
without looking throw all a bunch of tests to be sure, just interval
color as a guide.

But indeed the temperament AND THE Fifths , or fourths for instance,
are of primal importance to be in the mood for this game.

Easier to hear the fourths in my opinion (and have them shine , to
quote someone...)

We as tuners cant refrain to talk about beats, but I believe that we
tune differently after some time, (and more better instruments than
bad ones too).

My favorite game was for some years to discover the mood of the
precedent tuner (in concert service), as their temperament and kind of
tone differ, and some where so much far from pure ET that knowing
their method was better for stability.
They are always favoring one kind of interval, when find it the tuning
flow in their traces without difficulty.

A little vain may be but necessary.


Regards.

Isaac O


> -----Message d'origine-----
> De : pianotech-bounces@ptg.org
> [mailto:pianotech-bounces@ptg.org]De la
> part de David Andersen
> Envoye : lundi 23 septembre 2002 11:45
> A : Pianotech
> Objet : Re: Learning Aural Tuning
>
>
> >You don't really need to decide on a beat rate for the
> F3-A3 third.  Tune
> >A4 and then tune A3 and A2 to get octaves and double
> octave that you want.
> I'll say again what I've said before.  The best tunings
> I've ever done
> have been achieved by making the fourths in the temperament
> wide or sharp
> in the same easy, slow rolling way.  When the fourths are tuned
> properly---and it's much, much easier for me to hear
> fourths and fifths
> with precision than 3rds and 6ths---all the tests you want
> to do work out
> "perfectly."
> Hope this helps......it's dead simple.
> David A.
>
>
> > How wide you can set these octaves will vary from piano
> to piano.  As
> >Bill says, aim for a compromise between a 4:2 and 6:3
> octave checking the
> >double octave to be sure that it isn't so wide as to be
> objectionable.
> >This is a bit of an artistic judgment call and the width
> of these octaves
> >will vary from piano to piano.  In general they will be
> narrower on a
> >smaller piano and wider on a larger piano.  On some
> spinets you may need
> >to set the octaves a pure 4:2 or even narrower.  Then set
> a sequence of
> >contiguous thirds from A2 to A4 so that their beat rates have a
> >relationship of 4:5.  The narrower you set up your initial
> double octave
> >spread, the slower the F3-A3 third will beat.  Let the
> piano rather than a
> >preconceived notion about what the F3-A3 third should
> sound like guide
> >you.  Once you have laid in the sequence of thirds it is
> relatively easy
> >to fill in the rest.
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