<HTML>In a message dated 8/27/02 3:53:10 AM Central Daylight Time, kjones@well.com (Keith Jones) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I had my piano tuned to a Young's Temperament for quite awhile and really enjoyed the variety of sounds, mostly the thirds of course. I have the feeling that the composers from before 1900 were aware of the colors of the keys and were quite crafty about exploiting the potential of both the more consonant and the more dissonant keys. The music I like to read through is mostly Bach, Beethoven, Schumann, Schubert the usual suspects. Try the first chords of The G major Sonata by Schubert, it's a different piece in Young's Temperament. There's also some places in Scenes from Childhood by Schumann that make me think that he was aware of the way the thirds sound. Sometimes a more dissonant third followed by a milder third gives the impression of resolution that just disappears in ET. </BLOCKQUOTE> I'm glad to read of your experiences but believe me, not everyone perceives these things in the same way.  One technician wrote to me that upon trying the very same music in the same temperament, both he and his pianist wife were repulsed by it and couldn't wait to get the piano "back into tune". It seems to me that a very few people really are used to and only like ET.  Everyone else can talk about their experiences but the ones who insist upon ET will always be able to make their opinion prevail. 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>