HT - typo?-Yes

[Billbrpt@AOL.COM]

---------------------- multipart/alternative attachment
List,

Ron Koval caught the following error in what I wrote yesterday.  I thank him 
for his attention and interest.  Unfortunately a simple error like this is 
easy to make when writing and it can cause lots of confusion.

Thanks, Ron.

Bill Bremmer RPT
Madison, Wisconsin

In a message dated 5/11/01 8:34:52 AM Central Daylight Time, 
drwoodwind@hotmail.com writes:


> Hi Bill,
> 
> Thanks for working on this and posting the recipe.  I was zooming through 
> it 
> and I think there is a typo.  When you get to the point of tuning G#3, I 
> think you meant to reference C#4, instead of D#4. (see below)
> 
> good work
> 
> Ron Koval
> (graphman)
> 
> 
> 
> 
> Date: Thu, 10 May 2001 13:54:56 EDT
> From: Billbrpt@AOL.COM
> Subject: Re: HT
> 
> 
> <<The most important steps in the EBVT are the first ones.  F3-A3, 6 beats. 
> Now tune F3-C4 pure.  Now copy the 6 beats exactly to make C4-E4 beat at 6 
> beats.  Now make the G3-E4 6th beat a 6 beats.  This will make a G3-C4 
> tempered 4th.  If this 4th is way too fast, then sharpen G3 until it sounds 
> a little better but not as much as you want, then flatten C4 until the 
> G3-C4 
> is tolerable.  This will make the C4-E4 3rd faster.  To even out your 
> corrections, flatten E4 just slightly to slow the beat about 1/2 as much as 
> you have increased it, then copy that beat to the F3-A3 3rd by flattening 
> F3 
> just a little.  Check the F3-C4 5th. It should still sound "pure" to the 
> ear 
> even if it ends up slightly wide or narrow.
> 
> Doing all of the above will compensate for Inharmonicity.  Now, the G3-B3 
> 3rd can be made by copying the rate of beating established in F3-A3, C4-E4 
> and G3-E4.  Now tune D4 by making it beat equally between G3 and A3.  Now 
> tune F4 a pure 4th from C4.  The F3-F4 octave should sound pure.  Now tune 
> Bb3 a pure 5th from F4.  The F3-Bb3 4th should sound pure.  Listen to the 
> resultant beat of Bb3-D4.  Now tune C#4 from A3 so that it beats exactly 
> the 
> same as the Bb-D4 3rd.  If this 3rd sounds too fast, you can compromise by 
> flattening C#4 slightly.  If the Bb3-D4 3rd has ended up too fast, sharpen 
> the Bb3 just a bit, which will temper the F3-Bb3 4th and the Bb3-F4 5th 
> just 
> slightly.
> 
> Now tune F#3 from C#4 a pure 5th.  If the resultant F#3-A#3 3rd seems way 
> too fast, sharpen F#3 just slightly which will make the F#3-C#4 be tempered 
> just
> 
> 
> 
> 
> <check this following part>
> 
> 
> 
> slightly. ***Now tune G#3 from D#4 a pure 4th.***

***This should have read:  Now tune G#3 from C#4 a pure 4th.***

> 
> If the resultant Ab3-C4 3rd
> beats way too fast, then sharpen Ab3 just slightly which will cause the
> Ab3-C4 to be slightly narrow.  This would be OK however, since the
> temperament is modeled after the Modified Meantone type, in which slightly
> wide 5ths and slightly narrow 4ths will occur and are acceptable.
> 
> Now, there is only one note left to tune, D#4, which you will make beat
> equally against G#3 and A#3.  This usually ends up being just slightly
> tempered for both intervals.  Sometimes it sounds virtually pure.
> 
> Remember that you are trying to make intervals beat within the tolerance 
> your
> own ear has for what sounds too extreme.  This is why I say that when an
> interval beats "way too fast", use your musical judgment to make a 
> compromise
> but be aware of the consequences of that compromise.  This means that you 
> can
> create an even milder form of the EBVT if you wish but the more you
> compromise from the basic formula, the more you risk losing the Equal 
> Beating
> effects and the effects of having 4 pure 5ths within the temperament.
> 
> I hope these comments have been helpful.>>
> 
> 
> Bill Bremmer RPT
> Madison, Wisconsin



---------------------- multipart/alternative attachment
An HTML attachment was scrubbed...
URL: https://www.moypiano.com/ptg/pianotech.php/attachments/4c/e4/5b/e2/attachment.htm

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