To Bill Bremmer

[Billbrpt@AOL.COM]

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In a message dated 2/11/02 7:51:44 AM Central Standard Time, 
pianotoo@imap2.asu.edu (Jim Coleman, Sr.) writes:


> Hi Bill
> 
> I know I'm not your boss, but why don't you get off the ego thing and 
> just stick to writing the positive things you do so well.
> 
> We've had this converstion before.
> 
> Ed Foote has done more for HT awareness than anyone else I know. You did 
> your best within the last year when you explained in detail how you do 
> the EBVT. You won a few converts. That's a good thing.
> 
> .

All right, Jim, thank you and enough said.  I've used the 1/7 Comma Meantone 
for some 8 years and wouldn't change the criteria for choosing it based upon 
what any one or a small number of people have said.  Mr. Farley uses it 
almost exclusively and has made many CD's with it.

Instead, I'll concentrate on what I'm setting out to do today and that is to 
tune two pianos together for a recording in a new, state of the art studio 
here.  I've not previously had the kind of opportunity to make a good 
recording because that kind of industry is quite small here but it is 
growing.  There is a brand new center for the arts being built which will 
feature a huge concert hall that will open in 2004.

The subject of tuning two pianos together will be an issue for me today.  One 
is a Yamaha C7 and the other, I think will be a Kawai of similar size.  In 
the discussions about this which have come up in the past, some people 
suggest tuning one piano the best possible, then the other to it, some 
suggest averaging the two and others suggest tuning each piano to itself as 
best possible.  The latter is what I would usually do and what I will do this 
time.

I'll again have an opportunity to make another recording next month, also 
using the EBVT.  Rather than being just another mild temperament, the goal of 
my approach is to produce the cleanest, clearest, most harmonious, in tune 
with itself piano possible.  In contrast to the usual ordinary tunings I do 
every day which usually take less than an hour, I may spend 3-4 hours or more 
on each of these working them up.

In my view and from my experience, that is what it takes to create that 
"stunning" sound that people have been talking about.  The reason why it 
takes so much time is that I do take the time to listen very carefully to 
each and every choice that is made along the way and enjoy the results of it 
before moving on.  People who may be listening to the process often say that 
it sounds like music itself.  I also test and retest repeatedly to make sure 
of rock solid stability and have the most beatless unisons possible.  The 
idea of having a "fluid" unison would disturb the relationship I have set up 
among the other intervals including the octaves.

It's time to go!

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> 

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