<HTML>In a message dated 6/20/02 10:52:54 PM Central Daylight Time, Tvak@AOL.COM writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Actually, since I'll be playing some Schoenberg and other 12-tone serial music, we all agreed that any tuning other than ET would distort the composer's intent. </BLOCKQUOTE> Yes, it would but it might make it sound more like music.  Bye the way, the Man of La Mancha score sounds good in every respect in EBVT.  The guitar player we had last time is on the list to call.  The first thing I will do is try my numbers again and see if the guitarist and I have the same opinion about the results as we did last time.  (The Director of the *professional* opera company encouraged and approved of the idea). For those who think I have but one egocentric agenda I have a few questions.  Why should I be tuning the piano and guitar in ET for this project?  Why shouldn't I do what I am doing?  Would I have anything in particular to talk about if I were doing it all in ET?  What would or should be my motivation to think like you and behave like you just so you wouldn't have any reason to have a negative opinion about what I do or how I do it? I would encourage Ron Koval to ask if he could do the tuning for the Opening Ceremony and seek permission to do the kind of temperament and octave arrangeement he feels would make the piano sound best for the kind of music you will be playing.  This would be over, above and beyond the temperament class and Ron's other demp project.  I don't think there is any valid reason to mandate ET for this tuning and I don't think it constitutes a pushy, egocentrical agenda to propose it and discuss it. 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>