EBVT Figures correction

[Jason Kanter]

Sure, that's a great idea. I can scan it for you, as well as validate what it says. 

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 jason kanter * piano tuning * piano teaching
 14847 ne 14th st . bellevue wa 98007
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----- Original Message ----- 
From: "Don" <pianotuna@accesscomm.ca>
To: "Pianotech" <pianotech@ptg.org>
Sent: Friday, October 04, 2002 11:48 AM
Subject: Re: EBVT Figures correction


| Hi Bill,
| 
| Why not photocopy the letter in question and snail mail it to Jason.
| 
| At 12:19 PM 10/4/02 EDT, you wrote:
| >In a message dated 10/4/02 9:58:22 AM Central Daylight Time,
| >jkanter@rollingball.com writes:
| > 
| > 
| > You're saying basically "I'm not careful with numbers, therefore others
| >make mistakes too." I won't issue any new charts with your data until you
| >publish scans of Owen's letter. 
| > 
| > Jason
| > 
| >
| > 
| >     So, yes, I mixed up a few numbers.
| > 
| >     As some of the 3rds and 6ths routinely turned out Equal Beating, I
| >eventually specified them that way too.
| > 
| >   I have very carefully checked to see that they are what Owen wrote.
| > 
| >     +3.8
| >   -0.8
| >    +0.9
| >   +3.1
| >     -2.0
| >     +1.8
| >   -2.7
| >    +3.1
| >   +1.2
| >       0.0
| >    +2.4
| >       0.0
| > 
| >     The rest falls into line as a consequence.
| > 
| >    Why not try these correction figures first before you go making another
| >graph and tell me if what you get matches the description on my website.
| > 
| > Here is that bearing plan in plain text:
| > 
| > Aural Instructions for the EBVT:
| > 
| >  Tune A4 to A-440 pitch source.
| > 
| >  Tune A3 to A4, stretching the octave to a a 6:3 type.
| > 
| >  Temper F3 from A3, a wide 3rd, estimating it to beat at 6 per second, 
| >    just slightly slower than it would be in Equal Temperament (ET). 
| > 
| >  Tune C4, a pure 5th from F3.
| > 
| >  Temper E4 a wide 3rd from C4, making it also beat at 6 per second. (About
| >half the speed of the same interval in ET.)
| > 
| >  Temper G3 from E4, a wide Major 6th so that it beats exactly the same as
| >the F3-A3 and C4-E4 3rds. (6 beats per second). This will make the G3-C4
| >4th be tempered a little more than in ET.
| > 
| >  Temper D4 from both G3 and A3 so that both the G3-D4 5th and the A3-D4
| >4th beat at exactly the same mild rate. (Each one just slightly more
| >tempered than in ET).
| > 
| >   Now, the F3-D4 6th will also beat rapidly but a little faster than the
| >previous series of Rapidly Beating Intervals (RBI). It will probably beat
| >at 8 beats per second.
| > 
| >  Tune F4 a pure 4th from C4. This will make a pure sounding 4:2 octave
| >from F3-F4.
| > 
| > 10. Temper by 1 beat per second, Bb3(A#3) a 5th from F4.
| > 
| >  Temper C#4 from A3, a wide 3rd, so that the A3-C#4 3rd beats exactly the
| >same as the Bb3(A#3)-D43rd. This will probably be about 9 beats per second,
| >about the same as in ET.
| > 
| > 12. Tune F#3 a pure 5th from C#4.
| > 
| > 13. Tune G#3 a pure 4th from C#4.
| > 
| >& D#-A#. 
| > 
| >& 6th beat exactly the same. Example: to tune E3, form a beatless octave
| >with E4, then sharpen or flatten until the 6th, E3-C#4 beats exactly the
| >same as the 3rd, A3-C#4.
| > 
| > The octave should be stretched enough so that there is a very slight beat
| >in the single octave (approximately 1/2 beat per second) and that the
| >tempered 5th will beat slower than the 4th.
| > 
| > When both the 4th and the 5th were pure in the temperament, the octave
| >will naturally be stretched a little less than an octave whose 4th and 5th
| >are tempered.
| > 
| > 16. When expanding the outer octaves, try to reconcile the double octave
| >and the octave and 5th (12th) so that the double octave and the 12th beat
| >exactly the same. (A very slight beat, almost inaudible). This will
| >naturally result in octaves which vary slightly in size up and down the
| >keyboard. These will quite effectively be "Tempered Octaves". (See my
| >complete article on How to Tune Tempered Octaves).
| > 
| > ***************************************************
| > 
| >    Sometimes that 4th ends up quite pure sounding, sometimes it doesn't
| >but either way, follows the rules for Well Tempered Tuning.
| > 
| >   Once I am sure of it, then when I have to make small modifications to
| >accommodate scaling and/or Inharmonicity irregularities, I have a
| >foundation from which to do that.
| > 
| >    But I only have so much time to spend on this.
| > 
| > Bill Bremmer RPT
| > Madison, Wisconsin
| > www.Billbremmer.com 
| 
| Regards,
| Don Rose, B.Mus., A.M.U.S., A.MUS., R.M.T., R.P.T.
| 
| mailto:pianotuna@accesscomm.ca
| 
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