Perfect Pitch, ET vs. WT, tone color

[Paul N. Bailey]

The following is a letter written by a tuning and rebuilding client. She
says a great deal,
I'll let her speak. 

                        Paul Bailey RPT
                        103445.713@compuserve.com
               
-------------------------------------------------------------
                                                                           
                                                                April '93
        When I was a young piano student I was privileged to study with R.
Ganz in his 
studio at Chicago Musical College. I must have been imprinted with some
kind of alternate 
temperament, possibly a meantone. There were two grand pianos in that
studio and perhaps
because I was small and the bench was the right height, my lesson was
always given on 
the same piano. It was not tuned like the other one. Because I was 8 years
old, Mr.Ganz
would emphasize that I was to LISTEN to what I was doing. I am sure he was
talking dynamics, 
but the imprinting in the mind and psyche went beyond the dynamics.The
intervals of 
the sound became my standard of what a piano whould sound like.

        I used to complain at home that our piano was nevere in tune, even
if it sounded like
all the others in the neighborhood. I was told in no uncertain terms that
our piano was tuned 
by the finest tuner on the North Shore.

        As I grew older and got used to hearing only equal temperament, it
seemed that my 
imagination had to work overtime to get from music what I wanted to hear. I
convinced myself 
that I was listening for something that wos only in my child-mind; that
those tones were only imaginings. They didn't exist. It was as tho my ears
shut down.

        In recent years my piano was remanufactured and when it was
returned home I was
aware that the tuning was different- just slightly. I thought that perhaps
it was an inherent
quality in the piano - a new depth. I complimented the technician about
bringing out such beauty 
of tone. Were my ears opening up a little?

        It was then that we started to explore other temperaments. I was
always reassured that if 
I didn't like it, it would be put back to what I wanted. We worked through
Werkemeister, Aaron-
Neidhardt and then eased into a Modified Meantone. WOW! What a flood of
memories and music
came forth. It took 50 years to fully open those old channels. My ears are
now open once again. 
Was it early imprinting? I cannot say, but I do know that my soul is laid
bare in some of the 
older temperaments. Isn't this what music is?

        I am concvinced that we have been set back in our development as
human beings by turning
away from what was there all along. Why do we always have to re-invent the
wheel? We are two or
three generations removed from those liberating tunings. We no longer hear
some of the glorious
music that is written for specific tunings. I am sure we would hear great
new composers of music 
for THIS age if artists were aware of what could be done with a variation
in accepted intervals.

        Equal Temperament may have it's place, but I find it very limiting.
What has the artist
to sell? Flash, fire, technical skill and a sameness of interpretation.
When did you last hear 
Chopin played with delicacy? Brahms with intimacy? The list could go on and
on. My ears ache with what I hear in most concert halls. Noise- not music.
We have accepted a physical performance
and rarely are we moved to a deeper understanding.

        I am grateful for the early exposure to a different temperament and
being told to LISTEN.
I am further grateful to the technician who had the insight and courage to
explore different
temperaments with me.

                                Gloria Frawley
                                Madison, WI.