Temp. comparisons:

David M. Porritt dm.porritt@verizon.net
Fri, 30 Aug 2002 16:28:45 -0500


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Alan:

Was that Ko Iwasaki?

dave
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On 8/30/02 at 10:37 AM Alan R. Barnard wrote:
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 ----- 
From: HazenBannister@cs.com 
To: pianotech@ptg.org 
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: 



but how is that line up with 
formal ear training and music theory at University level. Just what
is 
it they are teaching these people ? 



Hi, 
 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 
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. 
Just my rambling, 
Hazen Bannister   
_____________________________
David M. Porritt
dporritt@mail.smu.edu
Meadows School of the Arts
Southern Methodist University
Dallas, TX 75275
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