Temperament use, (was Feldman's piano)

[Allen Wright]

Ed,

Am I right in assuming that Meantone would be a little extreme for jazz?

Allen Wright


On 26 Mar 2007, at 20:09, A440A at aol.com wrote:

> Cy writes:
> <<  the jazz players I tune for all say that
>
> they routinely practice the same tunes in every key, so at least  
> the mental
>
> concept of a circulating temperament seems to be a stumbling block in
>
> getting them to try one.
>
>
> How do you get past that?  Just put on something mild like a  
> Coleman and let
>
> them try it? >>
>
> Yes.
>        I explain that the inequality is a feature rather than a  
> stumbling
> block.  You can let the jazzers know that some tunes sound a lot  
> better in a
> particular key, and it is not always the most consonant key that  
> lets the mood of
> the music be transmitted most eloquently.  Give them a small taste of
> 'bending' the normal temperament with a Moore and Co. and they will  
> most often ask
> about more change at the next tuning.
>       The Coleman 11 is a great sounding Victorian style of  
> tuning.  The
> Moore and Co. is even milder and has proven to be my first step  
> with most
> customers.  If they are seriously involved in Classical, there are  
> more dramatic
> departures from strict ET.
>      There is no substitute for the non-verbal impression of what a
> temperament really does to music. That can only be had by playing  
> and listening.  Get
> the piano tuned and don't clutter up the expectations with a lot of
> explanations,(which will mean more if it comes after they fall in  
> love with a new piano
> sound.)
> Regards,
>
> Ed Fo <BR><BR><BR>**************************************<BR> AOL  
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> free email to everyone.  Find out more about what's free from AOL at
> http://www.aol.com.</HTML>








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