<HTML>In a message dated 1/22/03 8:55:38 PM Central Standard Time, piano@charlesneuman.net writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">When you're tuning the treble, instead of going note by note from the top of the temperament section to the top, why not go octave by octave? That is, if the temperament ends at A4, I would tune B4, and then B5, B6, and B7. Then I'd go back and tune C4, C5, C6, C7, C8, etc. The main disadvantage I'd see would be that if my stretching gets too wide, for example, I might end up so that my A's are all too sharp for the A#'s that I tuned a while ago. Yeah, I guess that's the drawback. </BLOCKQUOTE> You're right about the consequences.  Any given octave can sound good by itself and out of context with the rest of the piano.  You need to make each note you tune work with all of the others.  Look up Jim Coleman's recent post on this.  Also, you'll find an article I wrote long ago on octave tuning on my website.  I call it "Tempered Octaves".  Most people think in terms of "pure" sounding octaves but if you study this subject in depth, you'll discover that neither octaves nor 5ths can ever truly be "pure" although they can sound that way to you or in a musical context.  The method of octave tuning I developed some 20 years ago is really quite easy to learn and can be done with the same accuracy either aurally or electronically.  Over the years, I have received many enthusiastic comments from others who have tried it.  Although I've never seen anyone who goes about it in quite the neat, easy and simple way that I do, there are others who have basically the same idea.  It isn't the only way but in general, it gives me a superb sounding treble every time I use it and it is the way I most often tune a piano. Bill Bremmer RPT Madison, Wisconsin <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A></HTML>