Temperamental temparament octave

[David Love]

When I was tuning aurally, I never liked this particular sequence because
it requires a guess about the F A third that is not necessarily integrated
into the overall tuning.  Check out the Baldessin/Sanderson double octave
sequence that uses a series of contiguous thirds to set the bearings.  I
found (and still find whenever I do tune aurally) that this method gives
the best and most consistent result ad makes natural compensations for
differences in stretch that are required by different pianos.  You will
find, for example on a spinet, that in order to get a two octave series of
contiguous thirds to beat progressively at a 4:5 ratio within the double
octave that you set up, that the F3-A3 third will come in at a slower beat
than it would on a larger piano.  Once you have the series of contiguous
thirds set up over the entire two octave span (A2, C#3, F3, A3, C#4, F4,
A4) you have a solid set of bearing points that allow you to fit in the
remaining notes more easily with many checks available.  

David Love
davidlovepianos@earthlink.net


> Thanks for the reply Phil.Hope Jim C. won't mind this.Here is the
> progression:
> 1) A49 to fork
> 2) A37 from A49
> 3)F33 from A37   7bps
> 4)F45 from F33
> 5)C#41 from F45 ...  balancing pivotal thirds
> 6)D42 fromA37 (4th)
> 7)A#38 fromF45  (5th)
> 8)F#46 from C#41 (4th)
> 9)C40 from F45 (4th)
> 10)E44 from A49 (4th)     this is where I encounter my problem?
> 11)C#41 fromG#48 (5th)
> 12)B39 from F#46 (5th)
> 13)D#43 from A#38 (4th)
> 14)G47 fromD42
>
> Hope this helps to clarify my original post
>
>
> Jim Morrison
> More questions than answers
>
>
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