Temperament Setting Question-correction

[Billbrpt@AOL.COM]

In a message dated 12/17/99 7:03:08 AM Pacific Standard Time, Billbrpt writes:

<< This is where closely voiced chords are played.  It is easy to make the 
piano sound disharmonious by concentrating on favoring 4ths, 5ths and octaves 
and ignoring the 3rds.  Moreover, the 3rds are pretty important all the way 
down to F2 but lose their importance after A3. After A3, you can let them 
become faster as you stretch the octaves to get more of the "singing tones" 
out of your 10ths. >>

Dear List,

I always try to correct my spelling and proofread content before I send a 
post but I often miss a fatal error in spite of my efforts.  The above 
statement about the importance of 3rds to the harmony of the piano's midrange 
should indicate A4, not A3.  I meant to say that in my opinion, the exact 
rate of beating of the major & minor 3rds & 6ths is most important between F2 
and A4.

Beyond either point, they become virtually inaudible and thus lose their 
importance.  The wider RBIs, the 10ths, 17ths and other RBIs of over an 
octave become more important above and below these points.  Within these 
areas however, is where closely voiced chords are played.  If tuning involves 
listening to Slowly Beating Intervals (SBI) only and ignores the RBIs, 
cumulative errors can result in some odd, disharmonious sounding chords that 
are adverse to the music being played.            


Bill Bremmer RPT
Madison, Wisconsin