ET- Expanded Temperament..kinda long.

[Richard Moody]

<|Then I play D4-G4-A4 simultaniously..if this is sounding smooth,

It helps to list the bottom note of the interval or chord first.  I think
you mean
G3-D4-A4.

<|it's the G#3-C4 third..that tends to be fast if I have a 'mistake'
somewhere |

Not to  nit pick but there should be an agreed on format for naming
intervals.
an interval of G--C is a 4th.   if it is G#--C it is a dim4th.   To see
right away that you are talking about a 3rd perhaps Ab3--C4  should be
used.   There are execptions like C#--F, as in A--C#--F--A, the three
contiguous 3rds in the A octave.

I think to define a "temperament octave" is constraining or at least
nebulous.   It all depends on how we "lay the bearings", or in modern terms
"set the temperament".   If you broaden the area of setting the temperament
you may find you can refine your "temperament octave" even  more.  If
tuning from A440 you are precluding the first octave is A3-A4. Then from F3
to C5 gives a broader range and more checks. But why not C3 to F5?    Many
times in this range I will come back and adjust something between A3 and
A4.   Suppose you are testing at C2 or C6 even and you find you can adj
something between A3 and A4.   Your temperament octave is subject to  tests
anywhere on the keyboard. Your temperament can be adjusted from anywhere on
the keyboard.   So in that sense the "temperament octave"  is indeed
expanded for refinement.
 If tuning from A440 I think the concentration of setting the temperament
would have to be between F3 and A4.  There you have 4 congruent 3rds, the
F3--D4 6th, the C4--A4 sixth, the 5ths and 4ths from A that form 3rds off
of C4, and Bb.
    A good exercise is to tune A3 to A4,  C#4 to A3, F4 to C#4 and A4 get
these beat rates right, or "ideal".  Tune C4 to A4 sixth.  Tune F3 to F4.
tune D4 to F3  6th.  Now listen to A4--D4  5th, and F3--C4 5th.  If these
are good you have a good ear for the beat rates of the 3rds and 6ths.
    Virgil at Reno showed about the F3--D4 6th in conjunction with
establishing the beat rates of congruent 3rds in the octave as far as the
individual piano was concerned.  It was over my head but I did take notes.
Another reason for video tapes of classes.  I think I do this with the
congruent 3rds from A3--A4 and getting Bb3 to make a good 3rd with D4 and a
good 5th with F4.  I would like to compare notes but that would take an
afternoon or two or three, (as if) which is the way it has always been
done.
    ----Richard Moody


----- Original Message -----
From: Phil Bondi <tito@PhilBondi.com>
To: Pianotech List <pianotech@ptg.org>
Sent: Wednesday, September 26, 2001 12:35 PM
Subject: ET- Expanded Temperament..kinda long.


| Hello all.
|
| Recently, I have begun to expand my temperament octave to be an octave
and a
| half. My temperament runs from F3 to F4, but recently, I have begun to
| 'expand' it to include all the notes above F4 up to and including C5.
|
| Why?
|
| Well, experimenting with the best tuning I can give, and hopefully,
letting
| the piano tell me how it wants to sound.
|
| For those still listening, let me explain how I am 'expanding' the
| temperament octave..oh..and by the way, if this is old news to some, my
| apologies..you can delete now..but I will have a question after this is
all
| explained..
|
| The first note I tune in the temperament octave is A3, tuned from
A4..next I
| tune D4 to A3..and now I am paying *alot* more attention to the D4-A4 5th
| instead of just the A3-D4 4th..perhaps I should have been paying more
| attention for awhile..that's another subject..
|
| Next, I tune G3 to D4..once I get that 5th where I want it, I tune G4 to
G3,
| paying close attention to how fast the D4-G4 4th wants to beat..not too
| fast, but not too slow, either.
|
| Then I play D4-G4-A4 simultaniously..if this is sounding smooth, I
| resume..If there's some beating going on, I correct it 'if it's musically
| possible'..now do you see where I'm going?
|
| If you know the F3-F4 pattern, then you have a pretty good idea of what
| comes next as far as pattern and testing..oh..testing..since I have been
| using this Expanded Temperament, I find myself not testing 6ths and 3rds
| unless, while I'm setting the temperament, something is obviously
| wrong..usually with me, it's the G#3-C4 third..that tends to be fast if I
| have a 'mistake' somewhere.
|
| Anyway, when I get done with this F3-C5 temperament, I am finding that
the
| overall sound of the piano is a little sweeter than if my temperament was
| just the 1 octave testing 3rds and 6ths along the way.
|
| I am still testing 6ths and inside 3rds in the Bass.
|
| The rest of the tenor and the treble section is tuned to single octaves,
| listening to double octaves after C6 but not tuning to the double octave
| like I use to do.
|
| I realize this is not re-inventing the wheel, but to the aural tuners out
| there, do you expand your temperament and why.?.?
|
| Phil
|
|
|
|
|