tuning <> TUNING

[Isaac OLEG SIMANOT]

Sorry was not very clear, I was asked to tune in meantone 2 instruments
(cembalo and a little organ), then I've seen that the harpsichord player
could not check the tuning (even if it is easy with meantone) while the
organ player was able to hear when it pleases him or not.
In fact he corrected me on the way I was doing it (only with RCT never
worked without a little tweaking by ear).

Then I discover that even while having the good values (offsets) in cts, and
hearing pure thirds, the musician was able to tune pure thirds that was
better sounding.
The checking with one partial done with RCT was not enough to produce fine
sounding intervals (and it was on instruments without inharmonicity
problems ).

It have the flavor of meantone but not the taste, (or something similar if
you see what I mean), and on 25 people, only 2 could check the taste of the
tuning.

I believe the same thing happens with ET, it is musical or not.

Adding or subtracting "life" in intervals is not only a matter of beats
between partials me guess .

Very esoteric.

OK I'm gonna sleep now

All the best


Isaac OLEG

P.S. Not liking too much the sound of his vertical Yamaha piano, and at a
moment where I did not new how to bring back fast the warmness of tone of a
piano, I tuned a customer's piano in EBVT after asking him, and it helped to
mask the poorness of tone.
It pleased him, but after I voiced back the instrument and tune it in a good
ET (only tweaked by the piano itself), he likes it far better. I am only
there in my experiments ...


>
> Greetings,
> Oleg writes,  and I contend with:
>
> >When tuned in  HT, or even alternate quasi ET, the instability will not
> >be hear because it is very few musicians only that can check for
> example the
> >color of a tuning and say if they agree with it (I've experimented that
> >in tuning 2 instruments in reg meantone for a small ensemble for 12 days)
>
>    Wow,  if you are experimenting with Meantone and only a few musicians
> notice, I wonder about the ears of these musicians!!  Maybe I am
> reading the
> post wrong, but a musician that doesn't distinguish between ET
> and Meantone
> is not listening very closely at all, and would be easy to please.
>
>  >When the people will accept an alternate temperament, they will accept
> >that their piano will be less in tune in fact than with ET.
>
>    I don't understand.  Are you meaning to say that ET is more
> "in tune" than
> the alternatives?  If so, then we have to define "in tune" by
> something other
> than the amount of consonance available, since ET has virtually
> no physical
> consonance at all.
>
> in another post, Oleg writes:
>
> >The A's where may be the same if you did not move them more than 0.3 cts,
> >but , sorry , I don't believe that you can move so much from
> meantone to ET
> >on a candidate for re stringing and have any stability one way
> or another.
>
>    Well, in the Meantone tuning,  I moved the
> Bb= + 17 cents
> B   = - 7 cents
> C = + 10.3
> C# = - 13.7
> D  = +3.5
> Eb = +20.5
> E = -3.4
> F = +13.7
> F# = -10.3
> G = +6.8
> G# -17.1
> A  = 0
>
> This totals about 70 cents up and 54 cents down for a total of 16 cents
> difference spread over 6 of the notes.  That equates to about 2 cents per
> note,with the A staying the same.  It isn't hard to see that
> there was a .3
> cent change in the piano, is it?
>    The changes in pitch raises occur from the flex of the soundboard and
> plate. When there are some notes going up, and others going down,
>  there is
> an equalization process.  At least, this is why I thought there
> was so little
> change.
> Regards,
> ED Foote
>
>