Glad you wrote Ed. I just wanted to know how far out was far out. I have the Vallotti on my wife's piano now. She and I both love it. I had put equal back on it a few weeks ago, and she immediately had me put the Vallotti back on. I will try a couple of the others the next few times I tune. I try to tune it once a month or so. So you like Young with Beethoven? Perhaps I will try that next. She plays alot of Beethoven and Chopin. Thanks for your input. I look forward to broadening my temperament horizons, and learning more about their characteristics. Terry Farrell Piano Tuning & Service Tampa, Florida mfarrel2@tampabay.rr.com ----- Original Message ----- From: <A440A@AOL.COM> To: <pianotech@ptg.org> Sent: Saturday, September 09, 2000 9:36 PM Subject: Re: Meantone Temperament > Terry writes: > << I just tuned an old Mason & Hamlin upright in my shop with a > > Meanton 1/6 Comma temperament with my SAT III. Did it just for the yahoo - > > never heard an extreme temperament like that before. . Keys with a > > bunch of sharps or flats are virtually unplayable - YUK! Key of C really > > kinda sounds horrid, everything is so still - it sounds dead. I guess I'm so > > used to hearing some elements of out-or-tuneness. >> > > Greetings, > Shezaaaaammm!! You started out way over in the tall weeds! You may be > used to some elements, but let's also consider that the 1/6C tuning may have > been so far from what the composer was using that you have, in effect, > changed the notes. (this happens when enharmonic distinctions are being made. > You can't use a G# for an Ab) Experimentation is valuable, even an extreme > departure provides an additional perpsective. > Before you retune it, you might want to hear some jazz stuff. I have > been stunned at how much dissonance can be used and still sound good in some > jazz extemporizing I have heard around here. (Avery is cooking up SOMETHING > in Houston with this idea, too). The use of new intonation needn't be > limited to the synths and computer keyboards, today. Meantone Jazz is going > to happen. > If you play this temperament for any length of time, you will return to > hear ET with a totally new appreciation for its own particular sound. (I'll > say it again, ET is one of the really fine sounding temperaments.) > If you are in the mood for broadening your harmonic horizons, (and I > applaud the effort), I would like to suggest you try a well temperament. A > Broadwood's Best, or the Coleman 11 for a slight "organic shaping" of the > intervals. If you want to maximize it for Beethoven and the 1800 crowd, I > think a Young is close to perfect, though the Kirnbergers make things > profound, in places. Heck, they are all good when the right music gets > played on them. > Let us know what sounds best. > Regards, > Ed Foote > >
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