Aural vs ETD

[Bill Ballard]

At 5:14 PM -0800 12/26/02, Jim Coleman, Sr. wrote:
>In aural tuning, the BIG DEAL seems to be the temperament learning
>curve. That is of necessity because that is where they must start
>before they can do the other things.

Actually in that one or two octave compass, there's alot being 
expected. In setting the "bearing" within such a narrow portion of 
the keyboard, we are saying that the various sets of intervals can be 
properly balanced for the consistency (smoothness in series). We 
might also further bet that it can successfully dictate the rest of 
the piano.

All of this is being done during in just one octave (give'rtakesom'). 
It's a microcosm, and definitely a formidable challenge for a 
beginner. It's far more complex, which is why you've properly placed 
it after unisons and octaves. But it is, as you say for any of us 
sitting down to tune, where we must start before doing those other 
things.

At 5:14 PM -0800 12/26/02, you wrote:
>I prefer to teach Unisons only until they are as good as mine.
>Then I teach Octave work to the same level.
>Finally I teach Temperament work. The SAT III makes this possible
>and it works quite well. By the time one gets to Temperament work,
>the hammer technique is already well developed. This makes learning
>temperament quite easy.

I'm assuming the training in unisons is aural work, right? But I 
likewise assume that the octaves and temperament are taught with a 
machine? Is the machine study complemented by the observations of the 
ear (the one in charge of unisons)?

At 5:14 PM -0800 12/26/02, Jim Coleman, Sr. wrote:
>In my next response I will discuss octave balancing.

We're all looking forward to it.

Mr. Bill Ballard RPT
NH Chapter, P.T.G.

"Talking about music is like dancing about architecture"
     ...........Steve Martin
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