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<DIV>Bill:</DIV>
<DIV> </DIV>
<DIV>"Of the seven deadly sins, anger is possibly the most fun. To lick =
your
wounds, to smack your lips over grievances long past, to roll over your =
tongue
the prospect of bitter confrontations still to come, to savor to the =
last
toothsome morsel both the pain you are given and the pain you are giving =
back-in
many ways it is a feast fit for a king. The chief drawback is that what =
you are
wolfing down is yourself. The skeleton at the feast is you."</DIV>
<DIV> &n=
bsp; &nb=
sp; &nbs=
p;
Frederick Buechner.<BR></DIV>
<DIV>Alan Barnard</DIV>
<DIV>Just a thought from Salem, MO</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"><FONT face="Times New Roman" =
size=3>-----
Original Message ----- </FONT></DIV>
<DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><FONT
size=3><FONT face="Times New Roman"><B>From:</B> </FONT></FONT><A
title=SidewaysWell1713@aol.com =
href="mailto:SidewaysWell1713@aol.com"><FONT
face="Times New Roman" =
size=3>SidewaysWell1713@aol.com</FONT></A><FONT
face="Times New Roman" size=3> </FONT></DIV>
<DIV style="FONT: 10pt arial"><FONT size=3><FONT
face="Times New Roman"><B>To:</B> </FONT></FONT><A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org"><FONT face="Times New Roman"
size=3>pianotech@ptg.org</FONT></A><FONT face="Times New Roman" =
size=3>
</FONT></DIV>
<DIV style="FONT: 10pt arial"><FONT size=3><FONT
face="Times New Roman"><B>Sent:</B> Thursday, November 28, 2002 2:37 =
PM</FONT></FONT></DIV>
<DIV style="FONT: 10pt arial"><FONT size=3><FONT
face="Times New Roman"><B>Subject:</B> Re: 6:3 bass
octaves---why?</FONT></FONT></DIV>
<DIV><BR></DIV><FONT lang=0 FAMILY="SANSSERIF">In a message dated =
11/27/02
8:53:25 PM Pacific Standard Time, <A
href="mailto:Tvak@aol.com">Tvak@aol.com</A> writes:<BR><BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE">OK. I can tune a 6:3 octave in the bass. But =
why? Musically speaking, why <BR>a 6:3 octave? Why would =
we
choose to make sure that THOSE two partials are <BR>in tune? =
Why
wouldn't the single or double octave be more important in =
<BR>musical
terms?<BR><BR>Musically speaking, why wouldn't the 2:1 octave rule
throughout? I could <BR>even see the musical rationale for a =
4:2
octave in the bass, making sure that <BR>the the double octave is =
clean, but
why make the octave + 5th be the <BR>determining factor in that area =
of the
piano? <BR><BR>When I think about this as a musician, it doesn't add =
up to
me.<BR><BR>I do it. But I don't know why...<BR><BR>Straighten =
me
out,<BR><BR>Tom S<BR></BLOCKQUOTE><BR><BR>6:3 octaves for the bass =
are only a
general recommendation. It's what programs like the FAC program =
shoot
for but of course, if you tune what Ed Foot calls "JUNK", the kind of =
piano
every manufacturer from Steinway on down make, that may or may not be =
the best
option.<BR><BR>The partial which is an octave and 5th above the =
fundamental is
very strong on most bass strings. In the lowest strings, the =
double
octave and 5th is very strong. "The squeaky wheel gets the =
grease" idea
applies here. The whole reason for tempering is to resolve the =
cap or
"comma" between the octave and the 5th. Therefore, tuning =
octaves which
tend to resolve that problem make the piano sound better, both higher =
and
lower.<BR><BR>Richard Brekne has recently done some work along these
lines. I've done essentially the same thing for some 20 =
years. Of
course, Ed Foote, who thinks he is always right about everything, says =
my
octaves, "don't make sense at all". See my website, learn to do =
what I
do and find out for yourself.<BR><BR>Bill Bremmer RPT<BR>Makes no =
sense at
all</FONT> </BLOCKQUOTE></BODY></HTML>