Fw: Hearing beats (corrected)

[Richard Moody]

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You wrote (about contig 3rds)
    
Tune C#3 about as fast above A3 as your watch ticks (if your watch is 4
bps like mine), or maybe barely faster. Absolute accuracy IS NOT
essential at this step.
 
Don't you mean tune C#4 above A3?   Isn't C#3 below A3 on the keyboard
and therefore a minor sixth?    ---ric 
 
"A book is like a garden that you carry"    Arab proverb.

 

 

-----Original Message-----
From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On
Behalf Of BobDavis88@aol.com
Sent: Saturday, August 21, 2004 12:28 PM
To: pianotech@ptg.org
Subject: Re: Fw: Hearing beats (corrected)


In a message dated 8/21/2004 7:15:03 AM Pacific Standard Time,
mkurta@adelphia.net writes:

article in print that relates words to beat speeds, i.e. mississippi
being a four beat per second indicator

How fast you say Mississippi depends upon whether or not you're from
Mississippi ! Words like that are useful mostly for comparing rates
rather than establishing them. With a good temperament system like the
contiguous thirds, there's really no reason to know how to count 7.9463
beats per second, as everything is done by comparison. An F-A third is
not the same from one piano to the next anyway.
 
For instance:
Tune A4, then A3 and A2. Most people can tune a reasonably usable
octave, even without tests, but there are all sorts of aural comparison
tests available to tune any type of octave that seems appropriate.
Tune C#3 about as fast above A3 as your watch ticks (if your watch is 4
bps like mine), or maybe barely faster. Absolute accuracy IS NOT
essential at this step.
Tune F3 so C#3-F3 is a little faster. F3-A3 should be faster yet.
Readjust only two notes, C#3 and F3, until the speeds seem to increase
evenly. Even now don't worry about the absolute. 
Tune C#4 and F4 as octaves. Play contiguous 3rds over the two octaves.
Don't count, just listen to the speeds increase. Extending it into the
second octave like this usually makes mistakes start to stick out like a
sore thumb. For instance, if you got the lower C# and F just a squeak
high, there will be a big jump between C#3-F3 and F3-A3. A surprising
amount of refinement can be done without any counting, but NOW you can
use the Mississippi/University 4:5 business I talked about in another
post to get even closer. This is easiest in the lower octave where the
beats are slower. 
 
I like to alternate between crude and refined tuning. Tune the octaves
quickly until they sound good, then use the fine tests to nail them
down, then leave them as anchors. Tune the thirds quickly, listen to
what they tell you, then use finer and finer comparisons to nail them
down and leave them. >From this point on, you can't go very far wrong.
 
Bob Davis


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