Dave, Me too. Tom Servinsky,RPT ----- Original Message ----- From: "David M. Porritt" <dm.porritt@verizon.net> To: <pianotech@ptg.org> Sent: Wednesday, October 17, 2001 10:30 AM Subject: Re: more on this temperament thing > Ed: > > Inspired by your email, this morning I tuned practice room pianos in > Young's #1, Kirnberger III, and Coleman XI. I've done this before, > but I hadn't yet this year. I think it is important in an academic > setting to expose the students (and faculty) to these alternatives. > I'm glad I can do it, and it usually gets a few comments. > > Having said all that, I wish I liked the sound better. 62 years of > listening to ET, and 29 years of evaluating my work and the work of > others as to how E the ET is, makes these temperaments sound > somewhere between "a little off" to "really bad." I know it's > unfair, but A-flat in a Werkmeister III doesn't sound "alive" to me, > it just sounds "bad." As you grew in your knowledge and use of HTs > did you go through this phase? I know it's not politically correct > to say it, but I like ET, and the more E the better!! > > dave > > *********** REPLY SEPARATOR *********** > > On 10/16/01 at 12:21 PM A440A@AOL.COM wrote: > > >Greetings all, > > A very interesting morning over at Vanderbilt. Earlier this > year, I > >had > >tuned pianos in three adjacent practise rooms for a comparison. In > one, I > >had good ol' ET, in another I had Jorgensen's extrapolation that we > call > >the > >Broadwood's Best, and in the third room, Thomas Young's ideas were > made > >manifest. > > I was being interviewed by a student inre the effects of > temperament, > >when > >I asked him about the three practise rooms. He said, "Johnson, > myself, and > >two others are always fighting to get in the Young room", and he > knew of > >several others that have become very partial to the Victorian sounds > of > >the > >Broadwood. I asked about the ET room and he said that is always > open, > >because nobody wants to play that one! His comment was that it > sounded > >boring, now. > >(These are three new Yamaha C 2 pianos). He wanted to know if there > >couldn't > >be more unequal temperaments put in place, and I suggested that he > make > >this > >request to the head of the piano dept/ and or the Dean. He said > that the > >piano students would love to petition the dept. to add more > temperaments, > >so > >here we go! > > In discussing this with a prof. I learn that the piano students > are > >suddenly asking new questions, and more importantly, playing with > more > >expression than they have previously. He wanted more info, but said > to > >keep > >up whatever I was doing, because the students were obviously more > musical > >in > >their playing. This is good news. > > I got the impetus to do this from Charles Ball and Tom > Seay(Mary? > >did > >you say you were doing this too?), down in Texas, where they had a > few > >rooms > >in temperaments. I would like to encourage any caut to consider > doing > >this. > >I have my charts( from the "Six Degrees" CD), on each door with a > one > >paragraph description of the era of that particular tuning > developement. > >If > >anybody wants to use them for a like project, feel free to do so. I > think > >this is making a real positive difference,and the students are > getting > >enthused. > >Regards, > >Ed Foote RPT > > > _____________________________ > David M. Porritt > dporritt@mail.smu.edu > Meadows School of the Arts > Southern Methodist University > Dallas, TX 75275 > _____________________________ >
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