A440A at aol.com wrote: > The important thing is that the tuning increase the emotional effect of > the music, and not call attention to itself. That means that there is a > limit when deciding how wide the thirds are allowed to be. This limit depends on > the instrument, (with the modern piano arguing for less dissonance than a > fortepiano or harpsichord), how the composer used the 'color' in the temperament, > and the audience's expectations. Hi Ed, I might argue somewhat the opposite. I learned to tune non equal temperaments on the harpsichord and the thirds are much more prominent there than they are on the relatively less brilliant piano. This may not apply to some of the asian PSOs I've tuned in marble foyers...<sigh>.. But I actually do think the pianos can take quite a bit more crunchiness in the thirds than harpsichords or organs, a pure third on the organ sounds stunning, on a piano it just sounds lifeless. ET thirds throughout a harpsichord are almost unbearable. JMHO! --Dave New Orleans
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