May the 4ths be with you

[Richard Moody]

> If you tune this same range such that the 6:3 are held beatless,
or at
> 0.5bps as they start out in the example above, then you'd hold
the 8:4
> up a while longer... this would allow for better matching of
those
> triple octaves and would represent quite a stretch. Though the
4:2's
> and 2:1's  would probably beat obnoxiously.

Maybe try a different machine, I don't know what to say----with
beats like that it seems there is a lot of room for improvement.


>. We do manage to create a tuning
> that is ET in more ways then not, and the fact that we kill all
key color is good evidence of that.

Speak for yourself on "we kill all key color".  I believe that is
the most specious sentiment in the history of music especially
when
applied to temperament.  It is a musician's thing, if they want to
talk to piano tuners about it I am all ears, but ain't holding my
breath.
The comments in Helmholtz and Ellis are interesting, but talk
about orchestral music and "character of the keys" holding even in
different pitches.    I think you will find the historical
comments on "key color" as far as temperament can be reduced to,
"Ech, that 5th sounds awful!"   "Awful?   Why that's not awful,
that's color".   Check Groves under "Temperament". There might be
some in Ellis, I will look for them it takes a lot of time to get
through the whole book.
      I know key color is a major premise of Jorgensen but I don't
think he proves it, esp. as relates to temperament.   The notion
that ET kills key color is widespread, just as widespread as Bach
inventing ET,   but both are "wrong".  But I think Bach and ET
have more in common than ET and no key color.

In Chicago was a class that had recorded examples of different
temperaments.  The same chord progression was played on the same
piano tuned in different temperaments.  There were different
groups of chord progressions, a cadence from classical music, a
progression from modern music, chord changes from pop music. And
in different keys (??)
Anyhow what struck me was how the style of music sounded with the
different temps.  To me if I had to comment on  "key color" I
would propose temperament color, because what sounded warm and
fuzzy turned out to be ET.  I suppose it will be argued that "warm
and fuzzy" not a color.     ; )
The class was I believe "Choosing a Temperament" given by David
Lamoreaux.  Many interesting handouts, one from Tim Farley titled
"Key Color....."  ( It  ain't 'key color'---its "character" man. )
Dave could have sold cassette tapes or disks of his demos, I would
have bought one.




> I think this echoes what was stated in the SAT manuals
appendixes
that
> theory and practice are not quite the same when he mentioned
that the
> contiguous 4ths and 5ths dont really exist in real life tuning.

That is preparing you for the limits of accuracy and consistency
of
the machine.      ---ricm