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<DIV><FONT face=Arial size=2>Don, the research that I was talking about dealt
with melodic placement of individual notes (i.e. cello intonation is not based
on melodic movement). This deals with a musicians ability to actually temper a
melodic scale. The point is that small alterations in distance can be made
without much notice to the listener: the act of tempering a simple melody is not
a significant event. Surly everyone on this list is aware of this. If not, next
time use ONLY melodic movement to set your temperament. Please let me know how
close you get . . . </FONT></DIV>
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<DIV><FONT face=Arial size=2>This is a psychoacoustical event. Vertical
tempering deals with beats, but this phenomenon does not occur in horizontal
tempering (notes do not sound simultaneously for beats to actually occur). Now
listen very carefully . . . violinist alter melodic intonation all the
time, but this is not based simply on the movement of the melody. </FONT></DIV>
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<DIV><FONT face=Arial size=2>It has been awhile since I have read the articles,
but I believe a saw a few in The Journal of the Acoustical Society of
America. You will simply need to search the database for the specific topic that
you would like to read-up on. But I am not going to take the time to do that for
you, because that is not the kind of thing that you seem to be interested
in. You want to see something that says that strings should use just intonation.
That is not really research, that is simply [current] common practice in the
profession.</FONT></DIV>
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<DIV><FONT face=Arial size=2><EM>Don: Please don't make statements that can not
be supported without data. You are voicing an opinion.</EM> </FONT></DIV>
<DIV><FONT face=Arial size=2>Hummm . . . well I am voicing an opinion, but what
kind of data would you like me to show you? Have you ever heard a recording of a
good quartet? If not, I would be happy to give you some
recommendations. </FONT></DIV>
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<DIV><FONT face=Arial><FONT size=2>Don or Susan, you have never really said why
you do not think it necessary for strings (brass sections, or vocals for that
matter) to use just intervals. The entire history of temperament has sought to
preserve as many just intervals on the keyboard as possible. Do you think that
because we use EQT on pianos that we also use EQT on all other instruments?
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<DIV><FONT face=Arial><FONT size=2>Bradley M Snook</FONT></FONT></DIV>
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