3:1 12th s? Verituner

[Jason Kanter]

There are some powerful arguments for using perfect 3:1. Because ET fifths
(and twelfths) are contracted, but pianos need stretch, the perfect 3:1
brings these two factors into alignment -- the beating twelfths become
beatless and the resulting stretch handles the inharmonicity of the octaves.
All Baldassin's work is about aligning harmonics -- we generally hear the
3rd partial pretty strongly, and if it's perfect that can make for a very
nice tuning. Look in the archives for P12.
Jason
On 3/25/07, Andrew and Rebeca Anderson <anrebe at sbcglobal.net> wrote:
>
> Ron Koval's One for All style for the Verituner got me to tinkering
> with my unit.  His style is a nice very clean (no stretch) tuning
> that works well on small instruments and is acceptable for most
> situations although you may want more stretch in concert halls.
>
> I got Rick Baldassin's book, "On Pitch", out and started tinkering
> with a tuning to use on the concert instruments I maintain (selecting
> style points in the compass related to usual scaling breaks).  The
> choice of octaves at each style point is limited on the Verituner by
> the area you are at on the piano.  From the mid-range up there is the
> choice of the 3:1 12th.  I'm curious how that compares a-la
> Baldassin's discussion style with other octaves.  This choice isn't
> mentioned in his book and I'm not sure that I understand it correctly.
>
> By the way doing this has made the tunings come out much more like my
> studied aural tunings and cleaned up the low tenor on the concert
> grands a lot.  The stock tuning styles have very few check points and
> a single octave choice per point resulting in very little octave
> choice being accessed by the computer.
>
> Any comments or explication welcome.
>
> Andrew Anderson
>
>


-- 
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