more on this temperament thing

[David Ilvedson]

>  I agree.  I do think it helps to put a sign on the door of each room
>with >some very short explanation of what is inside.  

Something like: "WARNING:  This piano tuned to a historical temperment.
Enter at your risk"  ;-]

David I.

> 
>
>>>Having said all that, I wish I liked the sound better.  
>
>    Why?
>
>>>I know it's
>unfair, but A-flat in a Werkmeister III doesn't sound "alive" to me,
>it just sounds "bad."  As you grew in your knowledge and use of HTs
>did you go through this phase?>>
>
>   I would submit that a temperament by itself doesn't sound "good" or
>"bad", 
>so listening to the temperaments is simply going to illuminate the
>difference 
>between what one is used to and something else.  I didn't have any feeling

>one way or another just by listening to the differences in the tunings,
>but 
>after hearing the music,  my appreciation for the added complexity grew. I

>also grew to appreciate the sound of ET, which had somehow escaped me for
>20 
>years. 
>    For the last three years I have been giving temperament presentations
>to 
>technicians and musical groups,(teachers, students, etc.).  These two
>groups 
>react in very different ways, and I have altered my procedures
>accordingly.  
>The techs represent a hard sell,  the musicians just roll over in
>epiphanies. 
> From a technical and professional standpoint, the change of temperament
>is 
>viewed with extreme suspicion.  From the musician's, I have found that 
>well-temperaments excite them, stimulates a closer look at the repertoire,

>and gives me some input into musical expression.  This is at the root of
>my 
>commitment to offering a wide variety of temperament.
>>>I know it's not politically correct to say it, but I like ET, and the
>more 
>E the better!!<< 
>   I don't think there is anything politically incorrect other than 
>condemnation of others that choose paths unlike our own.  I like ET also, 
>just not for EVERYTHING. 
>Thanks for the note.  
>Regards, 
>Ed Foote RPT