Duaine Hechler writes:
Steps 13 - 21 - "comparing" beats - wow - thats just another way of
saying - oh - now - I have to count the beats - and - remember them.
When trying to find out which way to go faster or slower or "beating
exactly the same" - guess what - BS - you - still - are - counting - beats.
Actually, there is a difference between counting beats (which is intellectual), and sensing differences in tempering, (which is sensual). I believe it may be a control issue and listeners(mainly us techs) who listen to music intellectually, rather than sensually, generally are unable to appreciate the difference between beating and musical texture.
Artists such as Dr. John can make captivating music on pianos with wild unisons because they are letting that particular sensual signal help carry the message. Some of his music, (example would be "Flaming Sword" on his "Duke Elegance" CD) would sound sterile and boring if the piano were perfectly aligned to a mathematical standard. It is the difference between an architect's drawing of a house and a painter's representation. Sometimes, precision has its own costs. Some people think brick is a far better than natural stone for abuilding, but I would suggest that the optimum material depends on thearchitecture. In the same way, the optimum temperament depends on the music being played. To play everything on ET is akin to building a city out of nothing but brick! Hence, I consider having a narrow range of what is "acceptable" a limitation, not an asset.
Mydefinition of "out of tune" is when the tuning calls attention toitself, rather than to the music. When I hear Bach played on ET, itsounds out of tune to me because I am hearing beating in places it wasnot originally intended. Same with Beethoven and Brahms. One who has listened to only ET will not bedistracted, though I suspect they are not getting the maximum emotionalimpact. They may also be disturbed by a blues singer really flattening a note for effect, while others really enjoy the departure. I, personally, have found that my appreciation of all musichas greatly increased as a result of expanding my tempering experience.
Mark Twain once remarked that as a boy, he took great comfort from sitting by the river, watching the water move. However, after learning how to pilot a riverboat, he lost that source of solace, as he now recognized those swirls as signaling a snag, or those ripples indicating a hidden sandbar or other danger. Astechnicians, we risk losing touch with the sensual nature of the music becausewe are listening intellectually, conditioned to accept a 14 cent third as the only size that ismusical. It ain't necessarily so..........
Regards,
Ed Foote RPT
http://www.uk-piano.org/edfoote/index.html
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