Contiguous Major Thirds Accuracy?

[paulrevenkojones at aol.com]

 John:

There's another interesting phenomenon which is quite useful as octave comparisons. If you tune A3-A4 as a 2:1 octave, and F3-F4 as a 4:2 octave, then re-tune F3-F4 as a 6:3 octave and note the differences in the effect on the contiguous M3's, it will tell you a lot about the "stretch" and inharmonic characteristics of the piano and allow you to decide how much to open up or squeeze F3-A3 around its nominal 7 beats/sec. This works even better in the low tenor where one would be tuning 6:3 octaves normally. If you tune an octave, say A2-A3 as 6:3, and conclude that you like it, then use the 4:2 octave test of M3-M10 (F2-A2, F2-A3) and listen for the difference in desired beat rates, it will tell much about the stretch/inharmonic qualities of any given piano. Generally, in a well-scaled piano, the two tests will yield nominal differences; the differences become acute in poorly scaled pianos. 

Paul


 


 

-----Original Message-----
From: John Formsma <formsma at gmail.com>
To: Pianotech List <pianotech at ptg.org>
Sent: Mon, 27 Oct 2008 9:31 pm
Subject: Re: Contiguous Major Thirds Accuracy?












On Mon, Oct 27, 2008 at 6:34 AM, Jeff Deutschle <oaronshoulder at gmail.com> wrote:







J.F:


?


You mention the importance of identical octave widths when tuning CM3's. Would this mean that if octave widths are?tuned differently?to compromise for a challenging break, that CM3's cannot be used?









I was referring to the two primary octaves used in setting an F3-F4 temperament: A3-A4 and F3-F4. ?It becomes self-evident .... ? Let's say you tune A3-A4 as a 2:1 octave, then tune F3-F4 as a 6:3 octave. ?It is then impossible to get contiguous M3s that are in a 4:5 ratio. ??




-- 
JF



 

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