>Finally - I really wanted to try this so I tried my damnedest to really >understand this - but .... Duaine -- People learn in different ways. I'm sure you'd get the system if it were demonstrated, instead of having to wade through a bunch of words. Also, the more you work on aural tuning, the easier it is to understand the instructions. The general scheme is ingenious -- he has you set contiguous (stacked) thirds F-A-C#-F-A (a little practice makes it easy enough to set the middle two notes inside the F-F octave so that the rates proceed evenly, faster as you go higher). You call them "right." The evener the progression the closer to equal temperament they will be. Adding one more M3rd outside the temperament octave (the higher A) gives you another interval to test the progression, and lets you test two notes with octaves instead of one. (F's and A's both, instead of just F's.) Then he has you set perfect fifths and fourths for the missing notes, even though they are "wrong." Then the final step is to (nearly) correct the errors in the perfect fifths and fourths by comparing them to two "right" notes. One of the two comparison intervals will be beatless, the other will be awful. You just average and get the note you are correcting halfway between beatless and too fast, equally "bad" for the two comparison notes. It ends up with an 'almost equal' tuning. If you have no practice with aural tuning schemes, it's probably easier to read the instructions with a tuning hammer in your hand, doing the steps as you go. And take your time. Susan Kline
This PTG archive page provided courtesy of Moy Piano Service, LLC