>Dave writes: ><< OK. Great idea. Let's stop talking about it and do it. Bremmer, Foote, >Jorgenson: line up 6 C7s; tune 5 in various HT's; tune one by Virgil >Smith in ET; it would be the real truth..... > > Uh, Dave? it's deceptively easy to volunteer others, however, where's >your name on the list? You would have to put your rolling-fourths ET up >there, no? No problem. My pleasure. I am a newcomer to this. I didn't want to but my name up there with you recognized all-stars. > And, what would the music be? All Mozart? 2 pieces from each >century of the piano' history? Ives? The Scott Joplin junkie may find a >different truth than our Bach specialist. However, there is another problem >with the return you would get on this much work. I envisioned it more like a smal group, or even individuals, playing the different pianos or listening to them being played, in a non-stressful environment where it's not "OK, you professionals: I command you to listen! This is a class, and there WILL be a test...." > After hearing three or more temperaments in quick order, the objectivity >fades. In your opinion or experience, or is this a documented fact of aural perception and fatigue? > The problem comes from trying to make decisions on sensory values, >not intellectual ones. The physical, scientifically demonstrated effects of >dissonance cause a lot of things to go on in a listener. (One of my friends >can't listen to classical music in WT because it makes him too nervous) That may answer the qustion above. >Judgement is like a muscle, it is especially tiring to use when it is >undeveloped and the new listener is often overwhelmed in short order. But these are all lovers and users of the magic of the ear; highly professional listeners, if you will. >Since >the player, the score, and the mood of the listener all play a part in how >attractive the music is, it is not simply a matter of putting out a large >number of tunings and getting a "sift" effect to turn up the "best" one. No---not a competition; no best; not the intention I had. Just to hear masters making fine pianos sound the best they can, with different parameters, at the highest musical level----how thrilling. How inspiring. How historic. > I think side by side comparisons are more effective when trying to >encourage more acceptance of non-ET. And having an ET piano beside one in >something like a Coleman 11 is always an ear and eye-opener. This is the >arrangement I use in my classes at the conventions. The structure of the >class is to create a new perspective from which to listen to familiar >intonation. The aim is to encourage the technician to broaden their view of >what "in tune" really means. We do this by comparing the effects of >different keys in a WT, and then comparing that with ET. It is always a lot >of work, but fun. > Time is usually cramped, hours odd, pay non-existant, >noisy environment at times, but if you would volunteer to tune the ET version >this summer in Dallas, it would sure be a help. It would be an honor and a pleasure. I commit to it now. >Thanks, >Ed Foote RPT No..thank YOU. I'm excited to learn about HT from a master. Dave A.
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