While this is true I think as a general stamp of approval for one kind
of tuning it is only valid when large numbers of pianists clearly make
their approval or disapproval known. On an individual pianist basis...
you never know for sure what their reaction will be.... and this applies
equally to all tunings regardless of how they are achieved. That
said... without meaning to overstate the point I agree with Susan's
statement. And I dont really think this applies more to unisons then to
octaves, stretch or temperament. An ETD is confined to its own
predefined generality and simply cannot veer from that. I have never
yet done an ETD tuning that could not be made more beautiful by closely
examining it aurally and tweaking it further thus. In the same breath I
would underline that I believe that these same un-tweaked ETD tunings
would easily suffice in nearly every situation I've been in... even the
most critical of them. As to the few posts which seem to use that
belief as the basis for not bothering at all with Aural tunings.... I
can only reply... "go ahead and keep thinking like that". My experience
is that those who do not actively pursue excellence beyond the practical
requirements of their work tend to stop up or slow way down their
general learning curve... and that in the end is an open door for those
who do to sweep past. Just because one can rest on ones proverbial
mantles does not mean its a good idea to do so.
Cheers
RicB
>I think that aural tuning allows for a more natural judgment
of which
>aspects of tuning and voicing really make a difference to
performers
>and listeners,
Rather than "thinking", I've just preferred to ask
performers and listeners........ In the end, "Right" is what they like,
anyhow.....
les bartlett
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