At 9:46 PM -0600 1/20/03, <tune4u@earthlink.net> wrote:
>> Actually a different "technology". What you're describing is using
>> the 19th to "ghost" the 6:3 octaves coincidental partials. It's a
>> good way of reinforcing (or even finding the pitch on which the beat
>> rate actually occurs. Good theory and ear training for people just
>> starting out with aural tuning.
>
>Yeah. I wrote a looong article on ghost tone tuning/testing on here a few
>weeks ago. I like it because you really cut through the noise sometimes.
It's a mechanism which allows you to excite only one partial
(although frequently a second partial may be heard as well). Not only
will it wipe all other partials out of the sound, but it will also
recreate the beat rate occurring, in your case at that octave's 6:3
level. It's a mechanical filter to give you only the ghosted
partials, the partials you want.
It's a wonderful mysterious world. A friend of mine, now gone, also a
student of Bill Garlick's, described it as meditation.
>What's interesting, too, is that even though your "beat" might be at, say,
>the 6th and 3rd partials, the perceived sound of the beat will be at the
>fundamentals of the two notes, or at least a lot lower than the 19th.
>Example, you play an out-of-tune octave and get the beat rate. You'd think
>it's somewhere at or between the octaves until you wang the 19th and realize
>THAT is where the beat is. Don't know if I said that very well. Good
>training, as you say.
You did say that very very well. I think you just need more ear
training. You were talking about that last month, I think.
>> I what I'm doing is listening to the beat rate in a given octave
>> (say, 6:3 instead of 2:1), and mistuning the unison in the "tunee" to
>> match the out of tuneness heard in the octave. At this point the
>> mis-tuned string should be brought in tune with the "tuner" (note
>> being tuned): all that remains is to pull the other string(s) on the
>> "tunee" in unison with that one.
>
>I will experiment with this.
Do you have any questions. You should realize that this is a specific
procedure. It may be an aural measuring device, but it's still a
principle and it's still a specific procedure.
Look at it as a pair of dividers. You play the octave, and the 6th
partial of C2 is 3Hz sharp of the 3d of C3. You copy that 3 pbs
(remember, 3 Hz) with your divider. You then push one string of C2
(the tunee) down by the amount laid out by your divider. The 6th
partial of this string now matches the 3d partial of C3. The other
string(s) on C2 are now ready to brought into a whole, two unisons
and four or six octaves.
An analogy (though of a different model) would be taring a set of
scales. Start with an empty platen at 0.00. Put an object on it, x.xx
grams. tare the scale (zero it). remove the object from the platen.
Observe the scale now reading "-x.xx". What's similar is that the
quantity "x.xx" is preserved, although not absolutely (pun intended).
>> Why not just hold both C2 and G4 open with the sostenuto, and tune
>> the 12th directly, as Phil was doing.
>
>Never thought to. Little tough to do in the old Betsy Ross spinet <G>
That's why I was answering alot of questions for him about unison
shimming. You could do it with one or two Hartman "Third
Hand"s........
>>an the two beat rates (m3d and M3d) will combine in the air,
>>faultlessly, distinctly as a single beat rate.
>>
>
>I'll try this one, too.
Lot's more where they came from.
Bill Ballard RPT
NH Chapter, P.T.G.
"I'll play it and tell you what it is later...."
...........Miles Davis
+++++++++++++++++++++
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