Bach and E.T. or W.T.

[Joe & Penny Goss]

Hey Bill,
 You are finally starting to see the light <G>
Hang in there fella.
Joe

----- Original Message -----
From: <Billbrpt@AOL.COM>
To: <pianotech@ptg.org>
Sent: Saturday, June 24, 2000 6:37 AM
Subject: Re: Bach and E.T. or W.T.


> In a message dated 6/24/00 9:07:31 AM Central Daylight Time,
> DonMannino@mediaone.net (Donald Mannino) writes:
>
> << Similar to your experience, after hearing a recital of beautiful piano
> music on a well-tuned equal temperament, the mild Victorian Well I put
into a
> piano at the office sounds, well, a little coarse and uneven when some
pieces
> of music are played (the slow movement of the Hammerklavier, for
instance -
> all kinds of modulations, starting and ending in f# minor. So far I have
not
> found an unequal temperament that sets well with the mood of this piece).
But
> after practicing on the unequal for an hour or so, I don't mind it and can
> appreciate it more. >>
>
> Oh, I don't know, Don.  It's always wisest to stick with conventional
wisdom
> and standard practice, isn't it?  Why do you think the PTG Tuning Exam has
ET
> with 2:1 octaves in the 7th Octave?  It's because that is the only way a
> piano sounds right.  At least that is what I've been told.
>
> This whole business of unequal temperaments is pure malarkey, you know.
> Everybody knows that Bach invented ET and wrote the ET Clavinova Music to
> prove how good it is and that it has been universally accepted by all
> composers and musicians ever since.    And that guy in Australia is right.
> You proved it to yourself, too.  If you start messing around with these
> unequal temperaments, they just might start sounding good to you.  If they
> start sounding good to too many people, musicians might start choosing
> digital pianos instead, where they can have any weird temperament they
want
> at just the touch of a button.  Now, that's something to be concerned
about!
>
> Everybody knows that Beethoven always had his Broadwood tuned in perfect
ET
> at all times.  All 3rds smoothly ascending and descending, perfect 4:5
> contiguous 3rds throughout.  He never dared stretch an octave either.
That
> would have spoiled the whole effect.  When he wrote that HammerClavinova
> sonata, he chose the key to write in just because it sounded right in that
> key and for no other reason.  He wanted all those modulations to be smooth
as
> silk, no rough stuff for him!
>
> Now, you wouldn't dare have a Kawai piano tuned in an HT at the
Convention,
> would you?  Why take such a risk?  Someone might complain about it.  A
group
> of irate tuners might come up to you and demand that this never be done
> again.  You might get some threatening letters.  If the corporate
directors
> hear about any complaints, you might lose your job!
>
> ET is always the safe way to go.  No one will ever complain about it.  All
> music will sound the way it's supposed to and the way everyone expects it
to.
>  Why get suckered in on such a folly when there will be no possible
benefit
> to it?  Do the right thing, do ET and do ET only and forever more.  Time
and
> the future will prove that you made the wise decision, the only right
> decision to make.
>
> Bill Bremmer RPT
> Madison, Wisconsin
>