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<DIV><FONT face=Arial size=2>Did you ever check the frequency of the =
A after
starting with a C fork? Becha it wont be exactly =
A=440</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=3>Dick MT</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
<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> Monday, March 05, 2001 =
8:44
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: 'C' fork users =
only
(inferior 'A' fork users need not apply)</DIV>
<DIV><BR></DIV>Dave,<BR><BR> For clairty, would you summarize =
your
temperment pattern, without checks, after you have set the fork into =
the
piano, and established the octave with? <BR><BR>For =
example:<BR><BR>>From
C-3 - up 3 - Mj. contigious thirds to C-4<BR><BR>>From C-4, =
down a
fifth to C#-3<BR><BR>Etc.<BR><BR><BR>Also, you you list what checks do =
you
commonly use for setting your temperment? I am asking, because =
personally I am
slow to introduce new checks into my work, as I am a creature of =
habit, and
hope to learn how others have refined their temperments.
<BR> Not too long ago I started using the =
lovely
and useful check for a forth: that is comparing the beat rates =
of the 3
rd. below the bottom note (Mj 3rd.) to the 6 made to the top note of =
the 4th.
As you know, this test reveals a much more 'countable' =
difference,
compared to 'just' the plain forth. <BR><BR><BR>Dan Reed<BR><BR>Dallas =
chapter<BR><BR><BR><BR>on 3/5/01 8:42 PM, Dave Nereson at
dnereson@dimensional.com wrote:<BR><BR>
<BLOCKQUOTE><BR>
<BLOCKQUOTE>----- Original Message ----- <BR><B>From:</B> =
thepianoarts
<mailto:thepianoarts@home.com> <BR><B>To:</B>
pianotech@ptg.org <BR><B>Sent:</B> Sunday, March 04, 2001 3:11
PM<BR><B>Subject:</B> 'C' fork users only (inferior 'A' fork users =
need
not apply)<BR><BR><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<BR><BR>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:<BR><BR>1. Tune middle C =
(C4) to
fork (523.3 Hz), beatless.<BR>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).
<BR>3. Tune E3 to C3 a bit faster than 5 bps (beats =
per
second) -- "Minneapolis" pronounced slowly, as to a
=
c=
hild
or non-English speaker.<BR>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.<BR>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
=
&=
nbsp; 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).<BR><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
=
c=
ount,
but just see that the 5th beats slower than once per second, but =
not so
long as two seconds to
=
b=
eat
once; then check that C# to E is a beat per second faster than E =
to G#.
<BR></FONT>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
=
&=
nbsp; the
latter, or about 9 bps and 10 bps, respectively.<BR>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
=
b=
ps,
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).<BR>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
=
a=
bout
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. <BR>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
=
&=
nbsp; bps).<BR>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
=
&=
nbsp; &n=
bsp; 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.<BR><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#-
=
&=
nbsp; A#.
The latter should be 1 bps slower than the former. =
Check
the 4th D#-G#. Should beat wide by 1
bps.<BR></FONT>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
=
&=
nbsp; should
be a beat per second faster than the 3rd. And check =
the 3rds
D-F# and E flat to G. Should
=
&=
nbsp; increase
by 1/2 bps going up chromatically, or 6 and 6 1/2 bps.<BR>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
=
s=
hould
be 1 bps faster than the Major, or about 9 1/2 and 8 1/2 bps,
respectively. Check chromatic
=
&=
nbsp; 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.
<BR><BR> 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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