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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A href="mailto:thepianoarts@home.com"
title=thepianoarts@home.com>thepianoarts</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
href="mailto:pianotech@ptg.org"
title=pianotech@ptg.org>pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, March 04, 2001 =
3:11
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> 'C' fork users only =
(inferior
'A' fork users need not apply)</DIV>
<DIV><BR></DIV>
<DIV><BR><BR> Just kidding you overly sensitive 'A' fork
users!<BR> <BR> Any "C" fork users care to exchange =
temperment
checks and patterns etc? I<BR> have been trying to evolve =
the 'Up
three thirds, down a fifth, up two<BR>thirds" etc. temperment taught =
from the
Aubrey Willis course 25 years ago.<BR>Anyone on the list using this =
pattern?
BTW, after 25 years with the fork, I<BR>moved to the Sanderson =
Accu-fork. It
has some advantages. Their beat-rater<BR>is also a nice tool for =
checking
contigious thirds.<BR> <BR>Dan Reed<BR> Dallas chapter</DIV>
<DIV> </DIV>
<DIV>When I first learned to tune, we were taught a C to C temperament =
that
started with a C fork at 523.3 Hz. The drawback to this one is =
that it's
across the bass/treble break in many spinets and consoles, but the =
beat rates
are a bit slower than an F-F temperament and might be easier to hear =
and count
for beginners. It goes thusly:</DIV>
<DIV> </DIV>
<DIV>1. Tune middle C (C4) to fork (523.3 Hz), beatless.</DIV>
<DIV>2. Tune C3 to middle C. Tune the A flat below C3 to =
get a
countable reference beat, then use the 3rd - 10th
octave check (3rd slightly slower than the =
10th). You
can also tune E flat 3 to a countable rate and use
the 3rd - 6th octave check (both intervals =
should beat
about the same rate). </DIV>
<DIV>3. Tune E3 to C3 a bit faster than 5 bps (beats per second) =
--
"Minneapolis" pronounced slowly, as to a =
child or non-English speaker.</DIV>
<DIV>4. Tune G#3 to E3 about 7 bps -- "from Chicago to New =
York",
pronounced fairly quickly, as a New Yorker
might. Or maybe "I don' wanna gohda bed", as
pronounced by a recalcitrant tot, knowing s/he's gonna =
miss Star Trek.</DIV>
<DIV>5. Check G#3 (A flat) to middle C. Should be about 9
bps. (It's real hard for me to call G# to C a Major 3rd
when it's really a diminished
4th). Make corrections to get 3 contiguous Major 3rds at 5:4 =
ratios, or
=
about a 5-7-9 bps ratio. (I never could distinguish smaller than =
about a
half beat per second, so I'm not =
using decimal parts of a beat per second, such as 5.2 or 7.1 =
bps).</DIV>
<DIV><FONT size=2>6. Tune C#3 to G#3 (down a 5th) slightly =
narrow of
pure, by 3 beats in 5 seconds. I know, this is hard to
count, but =
just see
that the 5th beats slower than once per second, but not so long as two =
seconds
to beat once; =
then
check that C# to E is a beat per second faster than E to G#. =
</FONT></DIV>
<DIV>7. Tune F3 to middle C (down a 5th). Check the 4th =
with
C3. Should be wide by a beat per second or so. =
Check the Major 3rd Dflat (C#3) =
to F3.
Should be about 5.5 bps, or 1/2 bps faster than the C-E =
third.
Check the thirds F to A =
flat
and A flat to middle C. The former should be about 1 bps =
faster
than
the latter, or about 9 bps and =
10 bps,
respectively.</DIV>
<DIV>8. Tune A3 to E3 (up a 4th), wide by 1 bps. Check the =
two
thirds F-A and E-G#. F-A should be about 7.5
bps, or 1/2 bps faster than the
E-G#. Check the 3rd, C-E vs. the 6th, C3 - A. The 3rd
should be about 1 bps =
slower than
the 6th (5 bps for the 3rd and 6 bps for the 6th).</DIV>
<DIV>9. Tune D3 to A3 (down a 5th), narrow by 3 beats in 5 =
sec.
Check D-F and F-A. D-F should be faster by
about 1 bps. or 7 1/2 bps for =
F-A and 8
1/2 bps for D-F. Check the minor thirds C#3 to E3 and D to =
F.
Should be 8 and 8 1/2 bps,
respectively. </DIV>
<DIV>10. Tune F#3 to C#3 (up a 4th), wide by 1 bps. Check the =
Major
third D to F# (6 bps) vs. D flat to F (5 1/2
bps).</DIV>
<DIV>11. Tune B flat 3 (A#) to F3 (up a 4th). Check F-A vs. =
F#-A#. The latter should be faster by 1/2
=
=
bps. Check D flat
to F vs. D flat to B flat. The 6th should be faster by 1 =
bps.
Check the chromatic 6ths C-A and =
C#-A#. The second one should be faster than the first by =
1/2
bps.</DIV>
<DIV><FONT size=2>12. Tune D#3 to A#3 (E flat to B flat), down =
a 5th,
narrow by 3 beats in 5 seconds. Check D#-F# vs. =
F#-
A#. The =
latter should be 1 bps slower than the former. Check =
the 4th
D#-G#. Should beat wide by 1 =
bps.</FONT></DIV>
<DIV>13. Tune G3 to middle C (down a 4th), wide by 1 bps. Check =
E flat
to G and E flat to middle C. The 6th
should be a =
beat per
second faster than the 3rd. And check the 3rds D-F# and E =
flat to
G. Should =
increase by 1/2 bps going up chromatically, or 6 =
and 6 1/2
bps.</DIV>
<DIV>14. Tune B3 to F#3 (up a 4th), wide by 1 bps. G to B =
should
beat about 8 1/2 bps. Check D to F# and D
to B. The 6th should be a beat faster than =
the
3rd. Check the 5th E to B. Should be narrow by 3 beats
in 5 seconds. Admittedly, =
this is
hard to count with any 5th, so check E-G and G-B. The minor =
third
should be 1 =
bps
faster than the Major, or about 9 1/2 and 8 1/2 bps, =
respectively. Check
chromatic
thirds F#-A#, G-B, and A flat to C -- they should
increase by 1/2 bps each. Check chromatic sixths
C- A, C#-A#, D-B, and E flat - =
C.
They should also increase by 1/2 bps each. </DIV>
<DIV> </DIV>
<DIV> Then go back and check
everything: 5ths, 4ths, Major 3rds, Major 6ths, minor 3rds, and =
make
small corrections to smooth things out. None of these
beat rates are absolute, and will vary slightly from piano =
to piano,
but I feel it's a good temperament for learning, keeping in mind that =
it's
easier on larger pianos, where you're not setting the temperament =
in the
bass/treble break area. Sincerely, David Nereson, RPT, =
Denver
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