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<DIV><FONT face=Arial size=2>I believe the Moore temperament is also =
known as
the Victorian temperament but I could be wrong. I just tuned this =
style on
my own Yamaha U1 and I found it to be very rich and colorful (there, =
hows that
for subjective?), especially in the upper tenor and treble. It's a =
very
mild deviation from Equal and would be a good candidate for use as a =
primary
temperament when tuning for clients.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Corte Swearingen</FONT></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">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Billbrpt@AOL.COM =
href="mailto:Billbrpt@AOL.COM">Billbrpt@AOL.COM</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, June 27, 2002 =
2:53
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: historical tunings =
- in
particular the Moore</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>In a =
message dated
6/27/02 2:20:24 PM Central Daylight Time, <A
href="mailto:cadunn@vt2000.com">cadunn@vt2000.com</A> (Clair Dunn) =
writes:
<BR><BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE">I very casually checked some of the numbers against the =
ET and
found <BR>very small differences. <BR>However, I did definitely hear =
a
difference. I would like to know <BR>more about the Moore =
temperament
specifically if anyone has <BR>information about it. I did read the =
info
again on your site Bill (I <BR>had read it before). Why is it called =
the
Moore temperament and what <BR>is the general consensus about the =
audible
differences? <BR>What struck *my* ears was a brighter tenor/treble =
section.
Noticably <BR>"crisper" and cleaner -- I know these are terribly =
subjective
words, <BR>but it's the best I can do. <BR>Am I hearing right?? =
<BR><BR>So,
I want to extend my thanks to Bill Bremmer and the rest of you =
<BR>folks for
making me curious. <BR>I actually tuned a customer's piano with the =
Moore
yesterday. They <BR>have two pianos--the daughter plays the fairly =
decent
Lesage Console <BR>and the husband plays the big old Ellington =
upright
(1911). It was <BR>the Ellington I tuned with the Moore. (--after I =
talked
to my <BR>customer about it. She deals in Victoriana and I thought =
she might
<BR>be interested--she was. But she's not going to tell her husband, =
to
<BR>see if he notices any differnce.) These are regular customers of =
<BR>mine and the piano is in good shape and holds a tune well. =
<BR>Anyway,
thanks again</BLOCKQUOTE>.</FONT><FONT lang=0 face=Arial =
color=#000000 size=3
FAMILY="SANSSERIF"> <BR><BR>I very much appreciate your interest. =
I'm
quite busy at the moment and will be leaving for Chicago tomorrow for =
3 days
of performances downtown. You hit on a number of issues. I =
have
never tried the Moore temperament but assume it is named after the =
person who
designed it. I never use the method which is admittedly the most =
popular, to apply "correction figures" to an ETD program. I tune =
only by
ear but often enter my tunings into my SAT as a custom program. =
<BR><BR>I
unfortunately cannot comment on the Moore temperament because I have =
never
heard it but can tell by the numerical information that it is similar =
to what
I do with the EBVT except that I have 4 pure 5ths unlike any other =
Victorian
temperament. It is possible that the Moore has some of the same =
Equal
Beating effects as the EBVT but those are built into the EBVT by =
design and
are specific, not accidental. <BR><BR>You noticed that the differences =
between
the Moore and ET are slight but that's where the magic and usefulness =
of it
lie: in the very slight difference. Too much difference =
and it's
sure to become unacceptable to some people. On the other hand, =
not
enough contrast renders a Victorian temperament inadequate for earlier =
music.
What the EBVT does that is different is to employ the Equal =
Beating
effect to create the illusion of a much stronger temperament yet avoid =
any
harshness. This makes it useful for all types of music. =
<BR><BR>When
playing chromatic 3rds the way one would test for evenness in ET, the =
first
impression one would get when playing the EBVT is a "sloppy" ET, much =
the same
as the remark made by Don Mannino. However, this is really not a =
valid
way of listening to any HT or Cycle of 5ths based temperament. I =
still
take this into consideration though, because I know people will do =
that
because it is generally their only frame of reference. I try to =
keep my
temperament within the bounds of what I know to be acceptable and =
tolerable to
the contemporary ear. <BR><BR>The real proof of whether it works is =
its net
effect on the music. Your customer is not likely to notice the
difference without prompting. But that is a good thing, not a =
bad one.
If there were to be a large enough effect to be clearly =
noticeable, it
would inevitably end up being rejected. Virtually no one ever =
picks up
on the fact that a piano which I have tuned in my EBVT has a "sloppy"
temperament or any other such negative comment, they only remark about =
how
good the piano sounds and that's the way it should be. <BR><BR>Many =
people
have expressed similar comments to yours about how a Victorian =
temperament
makes a piano sound "cleaner, crisper and clearer". This is no =
illusion.
It is the desired outcome. <BR><BR>Thanks again for your kind =
remarks.
Let us know of further good results but also of any negative
repercussions, should there be any. <BR><BR></FONT><FONT lang=0 =
face=Arial
color=#000000 size=2 FAMILY="SANSSERIF">Bill Bremmer RPT =
<BR>Madison,
Wisconsin <BR><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> =
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