On 11/8/2010 4:08 PM, Fred Sturm wrote: > > On Nov 8, 2010, at 1:40 PM, Susan Kline wrote: > >> D#6? Not D#5? > > > Oops! you're right, what I meant was C5, C#5, D5 area. That's what I thought. Right across the break. Attached is a chart of speaking lengths of the original, six on either side of the break, and a revised version. They don't progress in the original because there is still insufficient dogleg in the bridge across the break to allow a smooth progression to fit. As length progression changes, so does break% progression, and with that, tuning stability. That F-5 in the Yamaha verticals does the same thing for the same reason. That high in the scale, the strike ratio changes abruptly by a millimeter or so across that break too, which will change the timbre a bit as well. Ron N -------------- next part -------------- A non-text attachment was scrubbed... Name: D break.jpg Type: image/jpeg Size: 14438 bytes Desc: not available URL: <http://ptg.org/pipermail/caut.php/attachments/20101108/ecbf30f3/attachment-0002.jpg> -------------- next part -------------- A non-text attachment was scrubbed... Name: D+ break.jpg Type: image/jpeg Size: 14593 bytes Desc: not available URL: <http://ptg.org/pipermail/caut.php/attachments/20101108/ecbf30f3/attachment-0003.jpg>
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