Stretch Vs.Temperament, (was Beat Rates)

[Farrell]

    "But It really doesn't matter how much "inconsistency" there is
among tuners, because above the "inconsistent" there are many
highly trained and highly practiced professionals who can satisfy
the demands of the recording industry, symphony hall,  the
Broadway show or any of the many opportunities the Music Industry
of today."

Is it "inconsistency" or simply "individual personality"? Perhaps a good analogy is that of a famous NY piano manufacturer. Some would suggest that the pianos produced are "inconsistent". Others would suggest that they merely have their own "individual personality". So, is it variety or defects?

Terry Farrell
  
----- Original Message ----- 
From: "Richard Moody" <remoody@midstatesd.net>
To: <pianotech@ptg.org>
Sent: Sunday, August 11, 2002 4:44 AM
Subject: Re: Stretch Vs.Temperament, (was Beat Rates)


> you wrote
> 
> > To me, this shows that there is a lot more inconsistency among
> tuners than  we'd really like to think about or admit .
> 
> They are a lot less than the "reverse" or whatever you say you
> have "encountered"
> 
> By you your own  "observation" there is "inconsistency" among
> tuners because of the many you claim don't have it (ET) right.
> 
>     But It really doesn't matter how much "inconsistency" there is
> among tuners, because above the "inconsistent" there are many
> highly trained and highly practiced professionals who can satisfy
> the demands of the recording industry, symphony hall,  the
> Broadway show or any of the many opportunities the Music Industry
> of today.
>    If you think the high degree of selectivity of the Music
> industry indicates "inconsistency among tuners" I don't know what
> to say, unless to propose an example....that only one out of one
> hundred applicants is accepted for Harvard, therefore that
> indicates inconsistency among the Harvard applicants.
> 
>     I suggest, Lets improve our efforts to meet the skill level
> the music industry is looking for, instead of lamenting those who
> cannot or do not want to come up to the mark.  If you don't have
> ET skills don't whine.  If it is because ET is hard to tune, get a
> machine.  If you want to advance other temperaments, go ahead.
> Please don't disdain one temperament for another.  Please don't
> confuse the acceptance for one temperament as a disdain for any or
> all others.
> 
> Now of you want to talk about purer fifths in ET that leads to a
> more harmonious I-III-V , I have a lot to talk about.
> 
> ---ric
> 
> 
> 
> ----- Original Message -----
> From: <Billbrpt@AOL.COM>
> To: <pianotech@ptg.org>
> Sent: Saturday, August 10, 2002 11:40 PM
> Subject: Re: Stretch Vs.Temperament, (was Beat Rates)
> 
> 
> > In a message dated 8/9/02 10:59:49 PM Central Daylight Time,
> > remoody@midstatesd.net (Richard Moody) writes:
> >
> >
> > > For the tuner, the ability to achieve ET is known only by
> other
> > > tuners.  Yes there are some situations that might "catch up"
> to
> > > the sloppy tuner but I doubt he would advance that far in the
> > > profession for that to happen.  For example tuning a piano in
> one
> > > room and a piano  in another and for some reason they are
> moved
> > > together to be played as a duet.  Or a certain group that
> wanted
> > > to mix songs from different concerts and in the studio, found
> the
> > > piano didn't always match.   Renting a piano and playing it
> with
> > > the one already there. One tuner tuning the piano there and
> > > another tuner for the rental company.  But just try to explain
> to
> > > the stage manager (who made sure they were both "just tuned"
> in
> > > that case why both pianos should then be tuned by the same
> tuner.
> > > From the recording company that sends tapes from SF to LA they
> > > soon hear which pianos from which studios do or do not match,
> to
> > > the piano on site (as in movie)does not match well with the
> piano
> > > in the sound recording studio, there are many opportunities
> for
> > > the careful and consistent tuner to flourish, or flounder.  In
> the
> > > end it will be attitude that deals with the floundering
> > > situations.
> > >
> >
> > To me, this shows that there is a lot more inconsistency among
> tuners than
> > we'd really like to think about or admit yet there are so many
> who just can't
> > imagine anything but ET.  The "E" in ET stands for "Equal" which
> means "the
> > same".  How can all of these pianos not be compatible with each
> other and all
> > still be "Equal"?  Sure, there are different scale designs and
> differing
> > amounts of stretch but I don't think that accounts for all of
> this
> > incompatibility.
> >
> > To me, this is simply more evidence that ET remains elusive and
> is not really
> > practiced or achieved nearly as much as it is believed to be.
> I'd rather be
> > honest about what I do and say that I don't tune in ET and don't
> tune every
> > piano exactly the same but one thing I can guarantee is that a
> piano I tune
> > will be at standard pitch and will be compatible with all other
> instruments,
> > including fixed pitch instruments presumed to be in ET.
> >
> > Bill Bremmer RPT
> > Madison, Wisconsin
> >  <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i
> l l b r e m m e r . c o m =-</A>
> >
> 
>