Temp. comparisons:

[Alan R. Barnard]

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I had a prof at Southern Illinois University who was an outstanding =
cellist (sp? He played the cello, okay?) and had a remarkable ear. You =
could say "Play a G-flat minor triad, for example, first in pure scale =
(like you would in a string quartet) and then in a tempered scale like =
you were playing with a grand piano.  He could do it--with no external =
tone reference. They'd compare it to a strobe and he'd be dead on.

Alan Barnard
Salem, MO
  ----- Original Message -----=20
  From: HazenBannister@cs.com=20
  To: pianotech@ptg.org=20
  Sent: Friday, August 30, 2002 7:40 AM
  Subject: Re: Temp. comparisons:


  In a message dated 08/30/2002 4:13:45 AM Eastern Daylight Time, =
Richard.Brekne@grieg.uib.no writes:=20



    but how is that line up with=20
    formal ear training and music theory at University level. Just what =
is=20
    it they are teaching these people ?=20



  Hi,=20
   I think this falls into the same kinda thing as the perfect pitch =
thread I posed a while back.You learn different intervals in ear =
training, and different relationships, not so much how they are =
tempered.I guess=20
  most musicians I have run across,are more interested in the overall =
performance of the piano,and the execution of the piece,than what =
temperment the piano is in,given that the piano is in some kind of good =
tuning.I enjoyed the different temperments at the Chicago =
convention,could I recognize them now by hearing again,most definitely =
not.When I played thirds going up,it was definitely different,as you =
said,that had to be noticed.But when I played a piece,it sounded =
wonderful,but you couldn't put your finger on what was different.=20
  Just my rambling,=20
  Hazen Bannister  =20

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