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<DIV><FONT size=2>Bill,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>Thanks for the post, and the explanation of "reverse =
well" as an error in ET. Sounds like if I start with "pivotal =
3rds", and
am careful with the contiguous 3rds and 6ths tests, I should be able to =
avoid
this. </FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>For the "tests and troubleshooting" topic, I guess I =
didn't
give enough info with my question. I am familiar with the tests =
for 4ths
and 5ths, and am capable of producing a pure or tempered interval. =
However, step 14 of the EBVT plan says:</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>14. Temper D#4 from both G#3 and A#3 so that both =
the G#3-D#4
5th <BR> and the A#3-D#4 4th beat exactly =
the same
as each other (slightly <BR> less tempered =
than in
ET or nearly pure). <BR></FONT></DIV>
<DIV><FONT size=2>The pitch of G#3 is established in step 13, =
and A#3 in
step 10. So any error in steps 2 through 13 could cause the G#3 =
A#3
relationship to be off. If after tempering D#4 from these notes to =
produce
equal beating intervals, the beat rates are not "slightly less tempered =
than in
ET or nearly pure", but beating at about 1.5 to 2 beats/sec, then =
something is
wrong with the relationship of G#3 to A#3 (too narrow, I think), and one =
must
presumably go back through some or all of the preceding steps and make =
some
alterations. Can I compromise the F4 A#3 pure 5th and the C#4 G#3 =
pure
fourth to solve this problem, or do I need to go back further and =
correct some
earlier problem? Start over using 6.5 bps or 5.5 bps instead of
6?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>In a general sense, I was asking for some tests =
within the
sequence to identify problems early on, rather than at the end of the =
last
step. In ET, after each note is tuned, there are checks which =
reference
from the first few notes tuned, to keep from wandering too far =
off.
Sometimes these tests tell you that one of your first intervals is too
wide or too narrow, and the sooner you find out, the =
better.
Are there analogous checkpoints in EBVT? At what point in the =
sequence can
you find out if the 6bps set in step 3 needs to be made a little faster =
or a
little slower? Or maybe a sequence at the end to verify the whole =
thing
and/or identify one or two wrong notes? In ET, you run 3rds, 4ths, =
5ths,
and 6ths up and down correcting uneven progression, prioritizing which =
intervals
to compromise. What do you do to verify EBVT, and what is the best =
priority for compromise?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>thanks for your help and your patience,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>Mike Spalding</FONT></DIV>
<DIV> </DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A href="mailto:Billbrpt@AOL.COM" =
title=Billbrpt@AOL.COM>Billbrpt@AOL.COM</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> Thursday, June 07, 2001 =
7:03
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: New Bearing Plan =
for
EBVT</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>In a =
message dated
6/7/01 6:42:25 AM Central Daylight Time, <BR><A
href="mailto:mjbkspal@execpc.com">mjbkspal@execpc.com</A> (Mike and =
Jane
Spalding) writes: <BR><BR><BR>
<BLOCKQUOTE
style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; =
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"
TYPE="CITE">please try to include tests and troubleshooting, for =
example "if
the A#-D# <BR>4th and G#-D# 5th beat too fast, then..... ".
</FONT><FONT color=#000000 face=Arial lang=0 size=3
FAMILY="SANSSERIF"></BLOCKQUOTE><BR><BR>These intervals are tuned =
pure in
EBVT. They don't beat at all. To test the <BR>purity of a =
5th,
find the note which would make a minor chord, drop it down <BR>an =
octave.
Play that note against the bottom note of the interval, then =
<BR>against
the top. If both intervals beat exactly the same, the 5th is =
pure.
<BR><BR>To test for a pure 4th, find the note a major 3rd below the =
bottom
note of <BR>the interval. Play it against the bottom note, then =
against
the top note. <BR>When both intervals beat exactly the same, =
the 4th is
pure. <BR><BR></FONT><FONT color=#000000 face=Arial lang=0 =
size=2
FAMILY="SANSSERIF"><BR>I
<BLOCKQUOTE
style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; =
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"
TYPE="CITE">n past posts, you've referred to "reverse well =
temperament, the
most common <BR>error made by aural tuners attempting equal =
temperament"?
What is reverse <BR>well? How can I watch out for, and =
avoid or
correct it as I'm setting an <BR>equal =
temperament?</BLOCKQUOTE><BR><BR>In any
Well Tempered tuning, the chromatic 3rds will have a markedly uneven
<BR>pattern of beating which is in alignment with the cycle of 5ths:
slow for no <BR>or few sharps or flats, faster for 3 or 4 sharps =
or
flats and very fast for 5 <BR>or 6. Equal Temperament is very =
difficult
to get exactly equal if only 4ths <BR>and 5ths are used to tune. =
Most
people will make some kind of error and thus <BR>produce uneven 3rds.
<BR><BR>The most common mistake is to make the 4ths and 5ths among the =
white
keys too <BR>pure which will cause the 3rds to be uneven but in =
*opposition*
to the cycle <BR>of 5ths. This will make virtually all music =
played have
an out of focus, <BR>unbalanced sound to it. I've encountered =
this kind
of error everywhere I've <BR>gone, north, south, east, west, at =
Steinway Hall,
other piano stores, <BR>schools, theaters, at the PTG Convention, =
everywhere.
<BR><BR>I'll be in Los Angeles for the weekend, returning Monday =
night.
<BR>Bill Bremmer RPT <BR>Madison, Wisconsin</FONT>
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