This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi Alan, musicians train to count 3 times for 4 , 4 times for 5 is ot that different. In the same time (1 second for instance) you count 4 times, and then 5 times, and back , a few times, then you get a good feel for the kind of acceleration you found between your thirds. That is assuming you want to base your tuning on thirds. I tend to believe that too much evenness there can be prejudicial to the more "singing" intervals, so thirds are more there to put me in the ballpark, and I will leave any unevenness if a fifth ask for it I see thirds and tenths as the most precise tool for tuning, with some musicality as well, but color is mostly in the fifths and similar intervals. Happily, generally, a third or a tenth that is off will show a less than optimum fifth that was hiding somewhere. best Isaac ----Message d'origine----- De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la part de Alan Forsyth Envoyé : samedi 21 août 2004 05:35 À : Pianotech Objet : Tuning with a fork and the Sanderson Baldassin procedure. Isaac mentioned; "One of the nicest tricks I learned with the different Us methods is the 4:5 relation from contiguous thirds. ............" I tried this once long ago but was flummoxed when it came to distinguishing the ratios. How on earth is one supposed to tell aurally whether one beat rate is 25% faster or 20% slower than another beat rate? AF ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/1a/23/2f/77/attachment.htm ---------------------- multipart/alternative attachment--
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