Results (positive) from muting suggestions & Question about Minor 6th v. Major Third

[Lesher, Trent J.]

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Hello everyone.
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After getting help from several of you on this list, I went back to it =
on that M&H 50" upright that I was having trouble with, and it is going =
much better now.  I'm not having any more of the problem I was having =
hearing the beating between the strings in question clearly, and without =
confusion from influence of the outside strings.
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I just needed a thicker temperament strip.  It's almost embarrassing =
that I didn't figure that out in the first place, but I guess I can give =
myself a break because all three types I had that were actually made for =
the purpose (including the one that came with the Randy Potter course) =
weren't thick or dense enough for the M&H 50" upright.  The only thing =
that worked well was a strip of dense red felt that wasn't as wide, but =
is more than 1/8" thick.  Looking at catalogues and what's in these =
pianos, seems like maybe it's spring-rail felt.  I also tried using two =
regular temperament strips in parallel, and that worked almost as well =
too.
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Later, I'm going to try some of the other ideas (backrail cloth, action =
cloth) and at least look at a 'split mute with a steel strap handle.'  I =
finally found out what is meant by action cloth, but I have to try to =
get Schaff to send me a catalog to see the trap-handled mute.
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But anyway working with the thicker action felt I had on hand already, =
instead of any of the normal temperament strip-mutes, it worked so much =
better that I moved right through setting the temperament.  I was =
setting Kirnberger II, because I wanted to try it and it's comparately =
so extremely simple to do by ear compared to ET.  Since I only have the =
first 1/5 of the Randy Potter course, I didn't think I wanted to start =
trying to do ET by ear yet.  Anyway, using the thicker material, I was =
able to work much more quickly and with less uncertainty. =20
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Things were going so much better that with 9 separate steps in which to =
potentially accumulate errors, the F#-C# fifth -- two notes which are on =
the opposite ends of the chain of intervals (the nine steps between =
those two notes) -- which is supposed to come out like an ET 5th (the =
only one), was in the ballpark!  Actually, at first it was obviously =
pretty far off, but I only had to go back and adjust one interval (and =
re-do two notes that depended on it).  For me, that was gratifying.
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New Topic:
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Does it seem normal that sometimes Minor Sixths seemed clearer to tune =
than the inverse interval, a Major Third?  Since Minor Sixth partials =
align at 8th of the lower note to 5th of the upper note, off-hand they =
seem like they would be weaker and less clear than matching 5th to 4th =
partials of  Major Third.  But to me sometimes the Minor Sixth seemed =
clearer and easier to listen to the beats of than the Major Third. =20
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I thought maybe it was because the 5th partial involved in either =
interval is relatively weak compared to octave-type partials like 4s and =
8s, so it's intensity is better matched to an 8th partial than a =
relatively stronger 4th partial, and somehow that more comparable =
intensities made the harmony or lack thereof clearer to hear.
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If anyone has any comments about this, I'd be very interested to hear.
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Best regards,
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Trent
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