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<DIV><FONT face=Arial size=2>Mr. Bremmer, </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> My original posting =
suggesting
ET with lots of stretch was based on two factors. </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>1) I've tuned for a lot of Jazz =
artists, and
they practically have to beg me for the amount of stretch they want; way =
more
than I usually like, but it's jazz, I figure, and they like that =
"lively" sound.
</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>2) I suggested ET, because I =
believe HTs are
better at music that is more "consonous", if that's a word. Harmonious =
might be
better, but what I mean is music that is played in sonorous key =
signatures,
where you can really appreciate the tonal color. I am not about to try =
to
calculate all the different beat rates that would occur on certain =
intervals
that are already wide when a Dflat5flat9 or something like it is played =
in some
key like c#.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2> Glad you've had so =
much success
with it, though. </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV>Kevin E. Ramsey<BR><A
href="mailto:ramsey@extremezone.com">ramsey@extremezone.com</A></DIV>
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<BLOCKQUOTE
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TYPE="CITE">In <BR>contrast to what Mr. Bremmer has suggested, I =
think jazz
is best served by <BR>ET. Maintaining the continuity of =
character of
altered chords in various <BR>keys, I think, is a benefit that is =
served not
only by an equal temperament, <BR>but from one that is not overly =
stretched.
A cleaner tuning will keep the <BR>thirds more in check so =
that the
dissonances brought out by the liberal use <BR>of 2nd's, 9ths, 7ths, =
etc.,
will bring more color and contrast</FONT><FONT lang=0 =
face=Arial
color=#000000 size=3 =
FAMILY="SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=0
face=Arial color=#000000 size=2 FAMILY="SANSSERIF"><BR>Well, =
in spite of this
opinion, I've used HT's and the EBVT with Tempered Octaves for Jazz =
for 15
years, never having once heard a complaint about it but instead, =
praise for
how "in tune" and clear the music sounds. ET will do what it =
does to all
other music: neutralize all harmony. Yes, some people are =
used to
this and like it. But a well chosen HT or my EBVT give the music =
a
texture which most people will prefer. The insistance upon ET by =
technicians who adhere to the one and only, no option ideas taught for =
the
entire 20th Century as being correct forces a particular sound upon =
the piano
and the music which is not supported by the music itself. =
<BR><BR>Minimal
stretch will make the treble sound dull, flat and uninteresting to the =
audience for Jazz as it would many other types of music. =
Circumstances
vary and stretch can, of course be overdone. A closely miked =
piano for a
recording is one circumstance, a noisy nightclub is another. =
<BR><BR>Recently,
I was the technician for a new Jazz CD which will be on the market =
soon.
I used the EBVT with Tempered octaves. The musicians were =
all from
New York and praised the "crystal clear" sound of the 2 pianos used. =
I
would not hesitate to offer this kind of tuning in contrast to ET with =
minimally stretched octaves for any kind of music, no matter what it =
is.
It would appeal to most people over ET by a very comfortable =
margin in
any and all circumstances. Over a decade of trial and experience =
has
confirmed this. <BR><BR>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> </FONT></FONT></BLOCKQUOTE></BODY></HTML>