<div><div class="gmail_quote">On Mon, Oct 20, 2008 at 9:33 AM, Jeff Deutschle <span dir="ltr"><<a href="mailto:oaronshoulder@gmail.com">oaronshoulder@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"> <div dir="ltr"><div>John:</div> <div> </div> <div>I've thought about what you wrote below, have read similar statements before, and am not sure what it really means.</div> <div> </div> <div>Do you mean the natural stretch beyond the theoretical 1:2 frequency ratio that is necessary to achieve a chosen octave type? Or do you mean that for a given scaling, a certain octave type is best? If the latter, how would this be determined? Maybe you mean something else that I haven't thought of.</div> </div></blockquote><div><br></div><div>I don't consciously listen for coincident partials when setting A3 from A4. I listen for the best overall octave, then check what octave width it is. What usually works best is an A3-A4 octave between a 4:2 and 6:3. However, certain pianos call for that octave to be between 4:2 and 2:1. Having tuned many different types and sizes of pianos, I have a general idea of what will work best before I get started. Obviously, that general idea comes from many trials and errors. :-)  And, it's fairly simple to readjust if what is initially tried doesn't work.</div> <div><br>-- <br>JF<br></div><div> </div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div dir="ltr"><div></div> <div> </div> <div>Btw, I am strictly an aural tuner, but understand inharmonicity.<br></div> <div class="gmail_quote">On Thu, Oct 16, 2008 at 12:31 PM, John Formsma <span dir="ltr"><<a href="mailto:formsma@gmail.com" target="_blank">formsma@gmail.com</a>></span> wrote:</div> <div class="gmail_quote"> </div> <div class="gmail_quote"><snip></div><div class="Ih2E3d"> <blockquote class="gmail_quote" style="padding-left:1ex;margin:0px 0px 0px 0.8ex;border-left:#ccc 1px solid"> <div dir="ltr"> <div><br></div> <div>What helps most is getting the correct stretch for the piano. If you do this, the break becomes less of an issue. (On some pianos, there will always be inconsistencies, but that's unchangeable until the scale is changed.) It's helpful to start with a temperament that spans two octaves. But eventually, I think the more one tunes aurally, the better one can hear what will work best even if he is working within one octave for the temperament.<br> </div></div></blockquote> </div><div><snip></div> <blockquote class="gmail_quote" style="padding-left:1ex;margin:0px 0px 0px 0.8ex;border-left:#ccc 1px solid"> <div dir="ltr"> <div><span></span></div><div><div><div><div class="gmail_quote"><blockquote class="gmail_quote" style="padding-left:1ex;margin:0px 0px 0px 0.8ex;border-left:#ccc 1px solid"><div dir="ltr"><div><div class="Ih2E3d"><br></div> </div></div></blockquote> </div></div></div></div></div></blockquote></div> </blockquote></div><br><br clear="all"><br> </div>