But nothing...are you saying the minutiae of pitch isn't important in aural tuning? That's what I always suspected. This whole sound you love is happening one note at time. You bring the octave into relative tune and check it with other intervals and make adjustments. I do the same thing except the next note set with ETD. Your ballparking is no more whole sound than mine. I love aural tuning instruction where you are told to not worry about a note because you will come back and adjust it later on...I prefer to have all notes very close. David Ilvedson Pacifica, CA On Apr 16, 2010, at 6:07 PM, Susan Kline <skline at peak.org> wrote: beef? How can a machine telling you exactly where it wants the pitch to be compare with listening to the whole sound of intervals and unisons, how they interact, and the resonance and warmth of different stretches and unisons, for a couple of hours? As for the trouble with notes changing behind one (like in Hansel and Gretel
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