Dear Jim, Dr. Albert Sanderson published some fascinating data in the June 1978 issue of the Piano Technicians' Journal. Page 16 shows two charts which compare theoretical beat rates to actual measured beat rates in a well tuned piano. There are separate columns quantifying the 2:3 fifth and the 4:6 fifth beat rates. These beat rates, and their rates of change are significantly different. The tuning this data was drawn from appears to be based on a system where all octaves were tuned 0.5 bps sharp. This could, of course, have been done with any other temperament system including a zero beating 2:3 fifth. The data seem to suggest two problems that may arise from a zero beating fifth system. First of all, both the 2:3 and 4:6 fifths will not be zero beating at the same time. This might be a problem in in the middle , and certainly would be a difficulty in the lower bass of smaller pianos where the first and second partials are dominated by higher partials. Secondly, the inharmonicity does not progress linearly as we progress up the scale from the temperament, but clearly is increasing in more like an exponential manner. Regrettably, Dr. Sanderson only gives data for two octaves, but his data suggests what we all know intuitively, that the top octaves of a piano are extremely inharmonic, and that inharmonicity increases from note to note by progressively larger steps as we go up the scale. It seems to me, please correct me if I'm wrong, that this non-linearity would make it impossible to apply a uniform pure fifth at all points in the scale without making excessive compromises with other intervals. A pure fifth temperament might well be desirable on a low inharmonicity instrument in a large hall, but I have trouble imagining this system as something universally applicable to all pianos, or even to all 88 notes of any single piano. I'd love to be wrong, and I'm very interested in your research. If anyone can convince me otherwise it is certainly you! Best of luck with your project. Jerry Anderson
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