Hearing beats

[Jenneetah]

At 1:01 AM +0100 8/25/04, Richard Brekne wrote:
>Yep... and the rest of the piano upwards of the D3--A4 12th is tuned 
>to a P 12th.

That's the obvious part. What I was curious about was the 
temperament. But I guess that any pattern could be used without 
disturbing D3, A3 and A4 (which you've anchored to bed-rock).

At 1:01 AM +0100 8/25/04, Richard Brekne wrote:
>>Thus far you've been describing aural tuning steps, does this 
>>continue for the temperament? If so, would that be a 4ths/5ths or a 
>>3ds/6ths temperament? I'd be much more interested in the latter, 
>>but I can already see how it would be executed.
>>
>You can do it either way really.... all dependent on whether or not 
>you prioritize 3rds and 6ths progression over 4ths and 5ths.  I 
>prefer the latter as the 5th is so near to the heart of the 12th.

I work with 3ds/6ths because their faster beat rates form a sort of 
"vernier scale" for me. But I don't fail to balance them evenly with 
the 4ths and 5ths. I hope while you coddle those 5ths (the 3:2s) 
you're also listening to the 6:4s. They're an advance warning of 
bumpiness to be encountered two octaves up.

(Oh I forgot, you're an ETD type, and all that stuff is worked out 
for you in advance. <G>)

At 1:01 AM +0100 8/25/04, Richard Brekne wrote:
>Still, my own little inventiveness worked out great by my own 
>ears... and when he told of  his prior work on the matter I was 
>pleased pink as it simply confirmed that what I had been fooling 
>around with was indeed very supportable by applied tuning theory as 
>well.

3:1s are such a nice balancing of the octave relationships (.....that 
it's shame not to call them octaves. They work so much better than 
the real ones.)