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<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>Hi
Alan,</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>musicians train to count 3 times for 4 , 4 times for 5 =
is ot that
different.</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>In the
same time (1 second for instance) you count 4 times, and then 5 =
times, and
back , a few times, then you get a good feel for the kind of =
acceleration
you found between your thirds.</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>That
is assuming you want to base your tuning on thirds. I tend to =
believe that
too much evenness there can be prejudicial to the more "singing" =
intervals, so
thirds are more there to put me in the ballpark, and I will leave any =
unevenness
if a fifth ask for it</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>I see
thirds and tenths as the most precise tool for tuning, with some =
musicality as
well, but color is mostly in the fifths and similar
intervals.</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>Happily, generally, a third or a tenth that is off will show a =
less than
optimum fifth that was hiding somewhere.</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>best</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2>Isaac</FONT></SPAN></DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=571095207-21082004></SPAN><FONT face=Tahoma><FONT =
size=2><SPAN
class=571095207-21082004><FONT face=Arial
color=#0000ff> </FONT></SPAN></FONT></FONT></DIV>
<DIV><FONT face=Tahoma><FONT size=2><SPAN
class=571095207-21082004></SPAN></FONT></FONT> </DIV>
<DIV><FONT face=Tahoma><FONT size=2><SPAN
class=571095207-21082004></SPAN></FONT></FONT> </DIV>
<DIV><FONT face=Tahoma><FONT size=2><SPAN
class=571095207-21082004></SPAN></FONT></FONT> </DIV>
<DIV><FONT face=Tahoma><FONT size=2><SPAN
class=571095207-21082004> </SPAN>----Message
d'origine-----<BR><B>De :</B> pianotech-bounces@ptg.org
[mailto:pianotech-bounces@ptg.org]<B>De la part de</B> Alan
Forsyth<BR><B>Envoyé :</B> samedi 21 août 2004 =
05:35<BR><B>À :</B>
Pianotech<BR><B>Objet :</B> Tuning with a fork and the Sanderson =
Baldassin
procedure.<BR><BR></DIV></FONT></FONT>
<DIV><STRONG><FONT face=Arial>Isaac mentioned;</FONT></STRONG></DIV>
<DIV><STRONG><FONT face=Arial></FONT></STRONG> </DIV>
<DIV>"One of the nicest tricks I learned with the different Us methods =
is<BR>the
4:5 relation from contiguous thirds. ............"</DIV>
<DIV> </DIV>
<DIV><STRONG><FONT face=Arial>I tried this once long ago but was =
flummoxed
when it came to distinguishing the ratios. How on earth is one supposed =
to tell
aurally whether one beat rate is 25% faster or 20% slower than another =
beat
rate?</FONT></STRONG></DIV>
<DIV><STRONG><FONT face=Arial></FONT></STRONG> </DIV>
<DIV><STRONG><FONT face=Arial>AF</FONT></STRONG></DIV></BODY></HTML>