Bernard
You seem like a nice fellow, and we have hashed this through before. I
go out of my way to credit you for the work you did in the 70's.. or
whenever it was, since you first brought my attention to it. You no
doubt were influenced by people in your career and something stimulated
you to thinking along these lines... just like happened to me. I
actually do resent greatly your insistence that I am in so many words a
fake and a phony in this matter. The fact is that the major 6th and
double 10th comparisons I ran into some years back do not add up to a
perfect 12th tuning. They just happen to compare the 3:1 coincident.
They (these tests) were brought into the picture as just one other test
for helping one get octaves. No one mentioned anything to me at any
point about tuning straight out from a 12ths perspective instead of an
Octave.
Now this is the deal Bernard... through history many folks have thought
up things all on their own, made developments all on their own, without
knowing of others works before, after, parallel ... whatever. Happens
all the time. Get used to it. In this case.. I have time and time again
since you first popped up claiming prior whatevers on this idea
acknowledged that you were before me. I have never tried to take credit
for being the first guy to ever come up with this idea... quite the
opposite... In fact I have insisted that it is quite likely the idea
precedes you as well. In fact I dont give a hoot about any of this kind
of thing.
I do on the other hand take harm at someone insinuating time and time
again that I purposefully mislead people into thinking that the P-12
tuning idea that I came up with and executed on Tunelab was my own. It
was, and all your nasty insinuations to the contrary will not change
that. I had no idea of what your work, and for your information Andre
was not the first person, nor the last for that matter to <<introduce>>
me to these tests. Not by a long shot. The only real coincidence any of
this has with Andre is that I had developed sufficiently in my own right
to add a couple 2 and 2's together and think about what would happen if
you just plain used Tunelab to enforce P-12ths strictly and ignore any
and all other priorities. Nor did anyone give me any hint at all about
looking at the 9th root of 3. It wasnt a quantum leap to make or
anything mind you... since using the 12th root of 2 do divide an octave
into even bits had been around for ages... when one first decides to
look at 12ths... its a rather reasonable step to take. Yep... that
piece of <<brilliance>> was also all my own...despite it obviously
having been done elsewhere in the world unbeknownst to me previously.
As for the rest of what you claim about Andre and Arnold, I think its
in kind of poor taste to publicly accuse people of what you do below
behind their backs as it were. I would point out tho your version of
<<history>> clearly admits a prior knowledge to your own of the basic
idea of using the 3:1 coincident as a tuning priority. I would also
underline that the first instance I ever ran into of P 12 ths thinking
was a PTG article in the early 80's or late 70's as I remember. At the
time I just read it with interest and dismissed the thought. I never to
this day have seen your own article... and since I had no contact at all
with Euro Piano prior to 1996 it is not likely that I would have either.
Now... I'd appreciate an apology from you on the matter. I do not, nor
do Andre and Arnold, whom are fine, respectable, and honest technicians,
deserve these kinds of remarks. Nor do you have any reason whatsoever
to feel threatened. Nobody at all has taken issue with your work. In
fact... In my first response along these lines just yesterday I paid
deference to that and mentioned you by name.
Cordially
Richard Brekne
Ric,
The guy who put you into the trail to P12 you was André Oorebek from
Amsterdam (you figured out in another post) and "a rather small article
i found about in the seventies" (your own words, you still have to
find it)
Both indicates and proofs that it was not yourself who pushed you up
into the thing. In practice, the "other guy" already did so. Now for the
theory: Arnold Duin from Amsterdam, a former companion of André Oorebek,
told me at a Mensurix workshop i hold in Amsterdam a few years ago at
their convention that they learned the major
sixth-doubleoctavemajorthird test from their old teacher who was not
firm with any theory about tuning, but a good tuner. They tried to
convince him, that it is not correct to do so from tuning theory. Some
years later, after my publication in euro-piano, they began to adapt to
the P12. The article you mentioned was probably mine (the initial
publication of the pure twelfth temperement or "Stopper-Tuning" in
euro-piano 1988) So your finding was indirectly (via Andre) and probably
directly (the article) initiated by my work about the matter. I really
hate to offend other people, but you do so to me a little by continously
claiming independent authorship on the theoretical matter in your posts.
It was always my intention with the P12 temperament to get the tuning
theory compatible with what the best aural tuners tend to do, while the
standard 12th root of two tempermant theory is not so. Mathematically
the 19th root of three temperament is on a first look only one approach
between thousands of possibilities to split the pythagorean comma on
either side of the fifths circle.
More important (if not sensational, sorry for the self-praise) is my
finding of the beat symmetries (or symmetric interfenrence phenomene)
inherent in only this equal temperament four years ago, cancelling out
the beats in octave and fifths combinations and thus turning a tempered
tuning into pure tuning when playing chords. And this the proof why this
tempermant is superior to any other.
regards,
Bernhard Stopper
Richard Brekne schrieb:
> Hi Jason. To take your thought a step further, The guy who first put
> me on the trail of the P-12ths idea showed me a series of test
> intervals. A major third, major sixth, octave 10th and double octave
> 10th. For tuning C6 for example, the relevant notes would be Ab3, C4,
> F4, C5, and C6, with the Ab3 being the control note the whole way.
> The Third should be slowest, but just slightly slower then the 10th.
> The 6th should be fastest, again by a very slight amount, and the note
> you are tuning... the double 10th should be just inbetween the 6th and
> the other two. This makes the 12th below C6 just very slightly off
> pure. Just got me thinking back then that it would be easy to use
> Tunelab to do this directly
>
> David Anderson using the clean fourths this way moves in a very
> similar direction.
>
> Cheers
> RicB
>
>
>
> Yes. As I think about it, I recall that David Andersen puts great
> emphasis
> on the fourths, especially on the way down through the tenor. Now
> fourths do
> happen to have the coincident partial that is a P12 from the upper
> note. So
> in a manner of hearing, David is emphasizing P12 in his own
way. Hmm.
>
> Jason
>
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