[CAUT] "key coloration"

[David Love]

 <http://www.rollingball.com/EBVT10.htm> Click to proceed

This is one example from www.rollingball.com.  You can see other variations
of the EBVT on the website.  

 

David Love

www.davidlovepianos.com

 

-----Original Message-----
From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of David
Ilvedson
Sent: Sunday, March 08, 2009 3:12 PM
To: caut at ptg.org
Subject: Re: [CAUT] "key coloration"

 

Bill Bremmer's equal beating Victorian temperment...how are the Maj 3rds
aligned?   

 

David Ilvedson, RPT

Pacifica, CA  94044

 

----- Original message ----------------------------------------

From: "Dan Reed" <pianoarts at tx.rr.com>

To: caut at ptg.org

Received: 3/8/2009 12:13:15 PM

Subject: Re: [CAUT] "key coloration"

 

 

>Fred writes....

>>    "So, while I am willing to believe that there were fine tuners in the 

>> 19th century who might have adjusted their "quasi-ET" tunings to favor 

>> the white keys (though I doubt very many were that adept), I am quite 

>> convinced that they did so by adjusting and balancing 5th sizes, "

 

 

>My vote is, that comparing the P5 to the M3rd, the M3rd  was (and still 

>is), the target interval to adjust......the interval that most 

>dramatically stands out, from beatless.

 

>P5's in ET @ the center of the keyboard, are 1/2 bps...not  a dramatic 

>sensation or difference from beatless, as the ET M3rd compared to 

>beatless.

 

>The importance of the pure 3rd is influenced by classical singers and 

>string players. Two singers may be inclined to target a beatless 3rd... 

>and the solo Violin player..do they play ET 3rds?

 

 

>Dan Reed

>Dallas,Tx

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