Susan Well I agree with your humble opinion. What I am finding is that the trend seems to favor the melodic intonation over the harmonic as of late. The bloom we are talking about, and I think I agree with Joe on this, derives from a more harmonically based style of tuning and a tighter alignment of the partials. I wonder if this bias (if it exists) isn't driven by the use of ETD's and their preprogrammed format regarding stretch. I seem to recall that you are a strictly aural tuner and this may not be an issue for you. But for those who use ETD's (and I now include myself among those), I can see how there could develop a tendency to trust the machine to a fault, losing the ability to judge the quality of the sonorities on one's own, and not really understanding the stretch choices being made for you. This was part of the reason I became dissatisfied with the SAT III and went to the Verituner: the style of tuning that it delivered was more in keeping with my own aural tuning tastes. Well this is a can of worms now, isn't it? David Love ----- Original Message ----- From: "Susan Kline" <sckline@attbi.com> To: <pianotech@ptg.org> Sent: March 18, 2002 4:35 PM Subject: RE: "Bloom" > I consider the question of stretch to be an argument between > harmonic and melodic intonation. > > Tuning narrow may slow the thirds, but when listening to > the melodies, especially in the high register, many people > will consider them flat. > > Jim Coleman, Sr. did a very good demonstration of this in > his tuning class. He played a note in the middle register, > and then, without playing anything in between, he played > the same note high in the treble and had the class "tune" > it by ear. It consistently comes out extremely sharp, > because this demonstration has the class relying on melodic > intonation. > > If you listen to violin recordings, including those of people > like Heifetz, you'll hear them consistently sharping the orchestras, > and grossly sharping in the upper register. > > Like a temperament, which involves a dynamic struggle between > the desire for consonant intervals and the Pythagorean comma, > a good tuning requires an active balancing act between the two > types of intonation. The tension between them in a way adds > life to the process of tuning. > > JMHO, etc. > > Susan Kline > >
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