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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