I agree with Ed - string, wind, or full orchestra, the intervals tend towards pure intervals. I call it a kind of "floating" temperament, as when the ensemble changes key, the intervals adjust to the new key. I understand that wind instruments are built with a kind of tempering build in, but the players work the reed / embouchure to adjust the pitch as they play. Heck, the only reason we have temperaments in the first place is because we can't tune the piano as it is being played like other instruments do. Pianists are stuck with what the tuner puts there. I recall many rehearsals in college when I was accompanying other instruments, and a big part of the process was their having to learn to adjust pitches to fit with the piano. Find a good recording of Beethoven's 9th symphony, and play with your tuning machine during the slow movement. It can be very interesting. Don Mannino At 05:09 PM 6/30/2007, you wrote: >Bernard writes: > ><< every > >string quartet plays quasi ET (slightly narrow fifths, probably quasi > >P12) to avoid the pythagorean third of the cello C and the violin >> > >I disagree. I have sat in many a performance, and rehearsal, with my SAT in >my lap. Intonation in a good string quartet is anything but >ET, and in fact, >I have had a number of string players mention how everything changes when >they have to play with a piano. There are no pure thirds in an ET >piano, but you >will hear a lot of them in a good quartet. > Horn players know that they must play the E differently, depending on >what key they are in. This doesn't indicate ET is in use in the orchestra... > >Regards, > >Ed Foote RPT >http://www.uk-piano.org/edfoote/index.html >www.uk-piano.org/edfoote/well_tempered_piano.html > <BR><BR><BR>**************************************<BR> See what's free at >http://www.aol.com.</HTML>
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