'C' fork users only (inferior 'A' fork users need not apply)

[Dave Nereson]

This is a multi-part message in MIME format.

---------------------- multipart/alternative attachment

  ----- Original Message -----=20
  From: thepianoarts=20
  To: pianotech@ptg.org=20
  Sent: Sunday, March 04, 2001 3:11 PM
  Subject: 'C' fork users only (inferior 'A' fork users need not apply)




   Just kidding you overly sensitive 'A' fork users!
  =20
   Any "C" fork users care to exchange temperment checks and patterns =
etc?  I
   have been trying to evolve the 'Up three thirds, down a fifth, up two
  thirds" etc. temperment taught from the Aubrey Willis course 25 years =
ago.
  Anyone on the list using this pattern? BTW, after 25 years with the =
fork, I
  moved to the Sanderson Accu-fork. It has some advantages. Their =
beat-rater
  is also a nice tool for checking contigious thirds.
  =20
  Dan Reed
   Dallas chapter

  When I first learned to tune, we were taught a C to C temperament that =
started with a C fork at 523.3 Hz.  The drawback to this one is that =
it's across the bass/treble break in many spinets and consoles, but the =
beat rates are a bit slower than an F-F temperament and might be easier =
to hear and count for beginners.  It goes thusly:

  1.  Tune middle C (C4) to fork (523.3 Hz), beatless.
  2.  Tune C3 to middle C.  Tune the A flat below C3 to get a countable =
reference beat, then use the 3rd - 10th         octave check (3rd =
slightly slower than the 10th).  You can also tune E flat 3 to a =
countable rate and use         the 3rd - 6th octave check (both =
intervals should beat about the same rate). =20
  3.  Tune E3 to C3 a bit faster than 5 bps (beats per second) -- =
"Minneapolis" pronounced slowly, as to a             child or =
non-English speaker.
  4.  Tune G#3 to E3 about 7 bps -- "from Chicago to New York", =
pronounced fairly quickly, as a New Yorker         might.  Or maybe "I =
don' wanna gohda bed", as pronounced by a recalcitrant tot, knowing =
s/he's gonna         miss Star Trek.
  5.  Check G#3 (A flat) to middle C.  Should be about 9 bps.  (It's =
real hard for me to call G# to C a Major 3rd         when it's really a =
diminished 4th).  Make corrections to get 3 contiguous Major 3rds at 5:4 =
ratios, or                 about a 5-7-9 bps ratio.  (I never could =
distinguish smaller than about a half beat per second, so I'm not        =
 using decimal parts of a beat per second, such as 5.2 or 7.1 bps).
  6.  Tune C#3 to G#3 (down a 5th) slightly narrow of pure, by 3 beats =
in 5 seconds.  I know, this is hard to             count, but just see =
that the 5th beats slower than once per second, but not so long as two =
seconds to             beat once; then check that C# to E is a beat per =
second faster than E to G#.  =20
  7.  Tune F3 to middle C (down a 5th).  Check the 4th with C3.  Should =
be wide by a beat per second or so.          Check the Major 3rd  Dflat =
(C#3) to F3.  Should be about 5.5 bps, or 1/2 bps faster than the C-E =
third.          Check the thirds F to A flat and A flat to middle C.  =
The former should be about 1 bps faster than                     the =
latter, or about 9 bps and 10 bps, respectively.
  8.  Tune A3 to E3 (up a 4th), wide by 1 bps.  Check the two thirds F-A =
and E-G#.  F-A should be about 7.5             bps, or 1/2 bps faster =
than the E-G#.  Check the 3rd, C-E vs. the 6th, C3 - A.  The 3rd should =
be about         1 bps slower than the 6th (5 bps for the 3rd and 6 bps =
for the 6th).
  9.  Tune D3 to A3 (down a 5th), narrow by 3 beats in 5 sec.  Check D-F =
and F-A.  D-F should be faster by             about 1 bps. or 7 1/2 bps =
for F-A and 8 1/2 bps for D-F.  Check the minor thirds C#3 to E3 and D =
to F.          Should be 8 and 8 1/2 bps, respectively. =20
  10. Tune F#3 to C#3 (up a 4th), wide by 1 bps.  Check the Major third =
D to F# (6 bps) vs. D flat to F (5 1/2                 bps).
  11. Tune B flat 3 (A#) to F3 (up a 4th).  Check F-A vs. F#-A#.  The =
latter should be faster by 1/2                             bps.   Check =
D flat to F vs. D flat to B flat.  The 6th should be faster by 1 bps.  =
Check the chromatic 6ths         C-A and C#-A#.  The second one should =
be faster than the first by 1/2 bps.
  12. Tune D#3 to A#3 (E flat to B flat), down a 5th, narrow by 3 beats =
in 5 seconds.  Check D#-F# vs. F#-                A#.  The latter should =
be 1 bps slower than the  former.  Check the 4th D#-G#.  Should beat =
wide by 1         bps.
  13. Tune G3 to middle C (down a 4th), wide by 1 bps.  Check E flat to =
G and E flat to middle C.  The 6th                 should be a beat per =
second faster than the 3rd.   And check the 3rds D-F# and E flat to G.  =
Should                 increase by 1/2 bps going up chromatically, or 6 =
and 6 1/2 bps.
  14. Tune B3 to F#3 (up a 4th), wide by 1 bps.    G to B should beat =
about 8 1/2 bps.  Check D to F# and D         to B.  The 6th should be a =
beat faster than the 3rd.  Check the 5th E to B.  Should be narrow by 3 =
beats         in 5 seconds.  Admittedly, this is hard to count with any =
5th, so check E-G and G-B.  The minor third             should be 1 bps =
faster than the Major, or about 9 1/2 and 8 1/2 bps, respectively.  =
Check chromatic                 thirds F#-A#, G-B, and A flat to C -- =
they should increase  by 1/2 bps each.  Check chromatic sixths C-        =
A, C#-A#, D-B, and E flat - C.  They should also increase by 1/2 bps =
each. =20

          Then go back and check everything:  5ths, 4ths, Major 3rds, =
Major 6ths, minor 3rds, and make small corrections to smooth things out. =
 None of these beat rates are absolute, and will vary slightly from =
piano to piano, but I feel it's a good temperament for learning, keeping =
in mind that it's easier on larger pianos, where you're not setting the =
temperament in the bass/treble break area.  Sincerely, David Nereson, =
RPT, Denver   =20

---------------------- multipart/alternative attachment
An HTML attachment was scrubbed...
URL: https://www.moypiano.com/ptg/pianotech.php/attachments/1d/a6/83/a2/attachment.htm

---------------------- multipart/alternative attachment--