<!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 6.00.6000.16525" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Hi Todd,</FONT></DIV> <DIV><FONT face=Arial size=2>The discription of the octaves speak for themselfs. In the 4:2 example the 4th partial of the lower note coincides with the 2nd partial of the upper note. Same explaination for 2:1 and 6:3</FONT></DIV> <DIV><FONT face=Arial size=2>I think I would say yes, the 4:2 dominates in the temperament area as well as just above and below it slightly.</FONT></DIV> <DIV><FONT face=Arial size=2>The way I tune the 4:2 octave is first by tuning the octave close - getting it to sound beatless - I am not focusing my hearing at this time on any particular partial. Then I use the 3rd 10th test (this is the test for the 4:2 octave) the third should beat equal to the 10th.</FONT></DIV> <DIV><FONT face=Arial size=2>Next I like to listen to the 2:1 and 6:3 octave tests for greater confirmation. </FONT></DIV> <DIV><FONT face=Arial size=2>If I have tuned f3 to f4 and the 3rd 10th tests about equal beating then I listen to the 10th 17th (2:1 octave test). If the octave that I just tuned is correct at 4:2 then the 2:1 should test wide - the 10th should be slower than the 17th.</FONT></DIV> <DIV><FONT face=Arial size=2>Also I will listen to the 6:3 which is the minor 3rd major 6th test. This test should have the minor 3rd beating faster than the major 6th. The 6:3 should test narrow.</FONT></DIV> <DIV><FONT face=Arial size=2>So - at f3-f4 I have set the octave to get it beatless, tuned a 4:2 and used the 4:2 test - if it is correct the 2:1 partials of f3-f4 octave are wide and the 6:3 partials of f3-f4 octave are norrow - you cannot go wrong.</FONT></DIV> <DIV><FONT face=Arial size=2>One thing that you can experiment with while tuning f3-f4 is to widen the octave so that the 6:3 minor 3rd-major 6th tests equal beating and listen to the octave. Does it sound good or bad. Do the same thing with f3-f4 but now tune the 2:1 partials so that the 10th 17th are equal beating. Does it sound good or bad?</FONT></DIV> <DIV><FONT face=Arial size=2>Gene Nelson</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=toddpianoworks@yahoo.com href="mailto:toddpianoworks@yahoo.com">Matthew Todd</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> Tuesday, August 21, 2007 8:11 PM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> 2:1, 4:2, 6:3 octaves</DIV> <DIV><BR></DIV> <DIV>I have been really, really studying tonight.</DIV> <DIV> </DIV> <DIV>Can someone please explain the system they use to tune 2:1, 4:2 and 6:3 octaves.  I am so close to grasping this concept, but I think I need another tech to explain it to me besides Reblitz.</DIV> <DIV> </DIV> <DIV>In the octave interval, if I were to tune a 4:2, the fourth partial of the lower note theoretically has the same frequency as the 2nd partial of the upper note.  Do those partials normally dominate each octave?  How can I tell whether to tune a 4:2 or a 6:3?</DIV> <DIV> </DIV> <DIV>Oh, and lets leave inharmonicity for another post.  I am just trying to grasp this main theoretical concept.</DIV> <DIV> </DIV> <DIV>Thank you!<BR>Matthew</DIV> <P> <HR SIZE=1> Need a vacation? <A href="http://us.rd.yahoo.com/evt=48256/*http://travel.yahoo.com/;_ylc=X3oDMTFhN2hucjlpBF9TAzk3NDA3NTg5BHBvcwM1BHNlYwNncm91cHMEc2xrA2VtYWlsLW5jbQ--">Get great deals to amazing places </A>on Yahoo! Travel. </BLOCKQUOTE></BODY></HTML>