Pitch Raise

[pianotune05]

Hi Don,
Im going to read that link you sent.  I find things that are mthmatical hard 
to grasp at times. Math wasn't one of my subjects in school.  I rely heavily 
on my keen hearing.  Is ths pattern for c1 the same for b1 a1 d1 etc?  Do we 
end with c4 or go on up to the last octave?
Marshall
----- Original Message ----- 
From: "Don" <pianotuna@yahoo.com>
To: "Pianotech" <pianotech@ptg.org>
Sent: Sunday, January 08, 2006 11:29 AM
Subject: Re: Pitch Raise


> Hi Marshall
>
> Here are some things to memorize and then gestalt.
>
> Ratios (mostly approximate but useable):
>
> Unison 1:1
> Octave 2:1
> Fifth 3:2
> Fourth 4:3
> Major third 5:4
> Minor third 6:5
>
> http://hyperphysics.phy-astr.gsu.edu/hbase/music/mussca.html
>
> The reason ratios are good to know is that they "give" the lowest common
> partial. For example the fifth between d4 and a4 will have a common 
> partial
> at a5. If one knows where to listen it really does make life a lot easier.
> In the case of the fifth again for example there is a strong second set of
> coincident partials at the 6:4 level (or a6). If one tunes the a6 partial
> the fifth will not be the "width" intended.
>
> The other reason ratios are so important is that they, when used in
> contiguous interval ladders, will tell us how fast the beat rates need to
> be. For example in a "ladder" which has f3:a3 and a3:c#4 the lower third
> will beat 4 times in any time period and the upper third will beat 5 times
> in that identical time period. This allows the piano to determine the beat
> rates rather than the tuner "forcing" an arbitrary number on it. Have a
> look here for a very nice "self correcting" temperament (and many other
> "goodies" as well):
>
> http://www.accu-tuner.com/SATIIImanual/sat3manual.html
>
> It will be very useful to be able to quickly "parse" the partial structure
> of any note. Here is an example:
>
> C1:c2:g2:c3:e3:g3:b3:c4
>
> As we can see these correspond to some musical intervals. As we get higher
> and higher the intervals drift farther and farther away from the tempered
> scale used on keyboards. Musically speaking the "leaps" are 
> (approximately):
>
> C1
> Octave
> C2
> Fifth
> G2
> Fourth
> C3
> Third (large)
> E3
> Third (small)
> G3
> Third (very small)
> B3
> Second (large)
> C4
>
> Octaves:
>
> Octaves have many coincident partials besides the "base pair" of 2:1.They
> become larger as the coincident partials increase. It is rare in "real
> life" tuning to use an octave that is as "narrow" as 2:1. Here are some
> examples of octaves and their coincident partials and where to "listen" 
> (or
> ghost them)
>
> 2:1 = C1:C2 listen at c2
> 4:2 = c1:c2 listen at c3
> 6:3 = c1:c2 listen at g3
> 8:4 = c1:c2 listen at c4
> 10:5 = c1:c2 listen at e4
> 12:6 = c1:c2 listen at g4
>
> It would be rare to use the extremes at either end of this chart.
>
> Using coincident partials it is possible to "design" aural tests for all
> sorts of intervals using a "third" note-just as is done when "setting" a4
> to a fork (or other pitch source).
>
> Remarks:
>
> Some tuners seem to be able to do a wonderful job of tuning without any of
> the above information, and some may consider this "path" limiting in some
> ways. (for example listening to the "whole sound") But on the whole if 
> this
> information is used then learning tuning becomes much easier for we mere
> mortals.
>
> At 07:42 AM 1/8/2006 -0500, you wrote:
>>Hi Don,
>> I understand the note placement, such as a1 or c4 etc.  I understand some
>>about partials etc, but when I'm tuning, I just let my ear tell me quiite 
>>a
>>bit as well.  They're pretty keen.  It is intereesting how the partials
>>work.
>>Marshall
>
> Regards,
> Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T.
> Non calor sed umor est qui nobis incommodat
>
> mailto:pianotuna@yahoo.com http://us.geocities.com/drpt1948/
>
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>
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