This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment I had a prof at Southern Illinois University who was an outstanding = cellist (sp? He played the cello, okay?) and had a remarkable ear. You = could say "Play a G-flat minor triad, for example, first in pure scale = (like you would in a string quartet) and then in a tempered scale like = you were playing with a grand piano. He could do it--with no external = tone reference. They'd compare it to a strobe and he'd be dead on. Alan Barnard Salem, MO ----- Original Message -----=20 From: HazenBannister@cs.com=20 To: pianotech@ptg.org=20 Sent: Friday, August 30, 2002 7:40 AM Subject: Re: Temp. comparisons: In a message dated 08/30/2002 4:13:45 AM Eastern Daylight Time, = Richard.Brekne@grieg.uib.no writes:=20 but how is that line up with=20 formal ear training and music theory at University level. Just what = is=20 it they are teaching these people ?=20 Hi,=20 I think this falls into the same kinda thing as the perfect pitch = thread I posed a while back.You learn different intervals in ear = training, and different relationships, not so much how they are = tempered.I guess=20 most musicians I have run across,are more interested in the overall = performance of the piano,and the execution of the piece,than what = temperment the piano is in,given that the piano is in some kind of good = tuning.I enjoyed the different temperments at the Chicago = convention,could I recognize them now by hearing again,most definitely = not.When I played thirds going up,it was definitely different,as you = said,that had to be noticed.But when I played a piece,it sounded = wonderful,but you couldn't put your finger on what was different.=20 Just my rambling,=20 Hazen Bannister =20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/c6/c2/7d/8e/attachment.htm ---------------------- multipart/alternative attachment--
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