Barbara Pease-Renner

[David Renaud]

--- "owen j. greyling" <greyco@kingston.net> wrote
 
> If anybody who has done so, would care to comment on
> how you have began using EBVT or any temp besides
> ET, with your regular clientele, I'm looking for
> suggestions.
> 

Hi Owen
 
   How to start? I am not a historical temp. expert
, but I have had a couple positive experiences with
starting I can share. I started with the daughters
viola teacher.
  
   I have been reviewing Bill B.'s pages on how to
do it and will try this at home.

Having a studio set up I intend to record a few 
short samples, compressed into MP3 files, for people
to review.

   I have tried a little improvised variation to date
for a couple clients. They are forever accompanying
their begginer and intermediate violin students on 
piano. Violins seldom play in flat keys. I think 50%
of the material on her piano is in D and G major,
allowing for some open strings on the violin, and easy
first and third position playing. Db puts them in a
horrible half 
position that is quite awkward. I'd guess another
30% is in C, A, E, and 10% in B, Bb, and less then
5% in any other key. Almost never Db or F#.
I'm extrapolating from the Suzuki books, the material
on her piano, and my daughters viola experience.
   
  So I lowered F# slightly improving the D major
third at the expense of F# and the fifth of B major,
Except I lowered the B slightly to improve the third
of G major, keeping the B-f# better, at the expense
of the third of B major and the fifth of E major.

I stopped here and she loved it. I didn't tell
her what I did, but she notice the nice third.
In orchestras they like lowered thirds allot, 
always tempering tonic thirds down, and leading
tones thirds up, giving more purity to tonic and
more bite to dominant in whatever tonality they
happen to be passing through.
 
Next time I went further with it....add

lower E slightly to improve C majors third, improve
the E-B fifth, at the expense of E major, and making
A-E at little noisier. G slightly up to make C to 
 G pure at the expense of Eb major.
I did lower C# a bit for A major, leaving a biting
third in Db, and a noisy fifth in F# major. Similarly
with G# with similar expenses to Ab and Db

  So to review, lower F#,B,E, as thirds, raise G
slightly, lower C# and G# slightly.
 
  How much....hmmm a little bit, decide how much
dissonance you can bear on the other side, and how
remote you feel the related  tonal centers are.
  
  This leaves very nice, D, G, C, major
  a nice third in A, and E major fifth moves a bit.
       
  Leaves Bb, Eb, F, ok, B with some bite.
  Db, F#, Ab.. bad, oops, sorry, "with more color".
  


> Thanks, All
> Owen (near Kingston, ON, Canada)
> 
> 


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