<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=iso-8859-1"> <META content="MSHTML 6.00.2716.2200" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV>Alan:</DIV> <DIV> </DIV> <DIV>Was that Ko Iwasaki?</DIV> <DIV> </DIV> <DIV>dave<BR><FONT face=Arial size=2>*********** REPLY SEPARATOR ***********<BR><BR>On 8/30/02 at 10:37 AM Alan R. Barnard wrote:</FONT></DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid"> <DIV><FONT face=Arial size=2>I had a prof at Southern Illinois University who was an outstanding cellist (sp? He played the cello, okay?) and had a remarkable ear. You could say "Play a G-flat minor triad, for example, first in pure scale (like you would in a string quartet) and then in a tempered scale like you were playing with a grand piano.  He could do it--with no external tone reference. They'd compare it to a strobe and he'd be dead on.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Alan Barnard</FONT></DIV> <DIV><FONT face=Arial size=2>Salem, MO</FONT></DIV> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B> <A title=HazenBannister@cs.com href="mailto:HazenBannister@cs.com">HazenBannister@cs.com</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, August 30, 2002 7:40 AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Temp. comparisons:</DIV> <DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>In a message dated 08/30/2002 4:13:45 AM Eastern Daylight Time, <A href="mailto:Richard.Brekne@grieg.uib.no">Richard.Brekne@grieg.uib.no</A> writes: <BR><BR><BR> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px solid; MARGIN-RIGHT: 0px" TYPE="CITE">but how is that line up with <BR>formal ear training and music theory at University level. Just what is <BR>it they are teaching these people ? <BR></FONT><FONT lang=0 face=Arial color=#000000 size=3 FAMILY="SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=0 face=Arial color=#000000 size=2 FAMILY="SANSSERIF"><BR>Hi, <BR> I think this falls into the same kinda thing as the perfect pitch thread I posed a while back.You learn different intervals in ear training, and different relationships, not so much how they are tempered.I guess <BR>most musicians I have run across,are more interested in the overall performance of the piano,and the execution of the piece,than what temperment the piano is in,given that the piano is in some kind of good tuning.I enjoyed the different temperments at the Chicago convention,could I recognize them now by hearing again,most definitely not.When I played thirds going up,it was definitely different,as you said,that had to be noticed.But when I played a piece,it sounded wonderful,but you couldn't put your finger on what was different. <BR>Just my rambling, <BR>Hazen Bannister  </FONT> </FONT></BLOCKQUOTE><FONT size=2 Arial></BLOCKQUOTE></FONT></BODY></HTML> <PRE> _____________________________ David M. Porritt dporritt@mail.smu.edu Meadows School of the Arts Southern Methodist University Dallas, TX 75275 _____________________________</PRE>