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<DIV><SPAN class=550150822-18112000><FONT face=Arial
size=2>Richard</FONT></SPAN></DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial size=2>God, I =
wish you guys
would use plain text...</FONT></SPAN></DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial size=2>With =
the Valotti,
which is the first HT I've ever tuned, the extreme speed of F#-A#, B-D#, =
C#-F in
the temperment is pretty hard to miss. </FONT></SPAN></DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=550150822-18112000><FONT face=Arial size=2>David
I.</FONT></SPAN></DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
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<DIV class=OutlookMessageHeader dir=ltr align=left><SPAN
class=550150822-18112000><FONT face=Arial color=#0000ff
size=2> </FONT></SPAN>Er..... I dunnnooo Bill, I think perhaps =
we are
underestimating the ear a bit here. Now I am no expert in HT's and =
have to
date very limited experience, Vallotti Young being the only other =
temperament
I have heard besides ET. I find it absolutely no problem to hear the
difference between this and ET. This is the case whether I am =
"testing" chords
and intervals myself, or whether I am just listening to someone play. =
Actually
listening to people play on this one example I have it is very easy =
indeed to
hear that it is not ET. Its very different and quite pleasing really. =
Cant
really explain in words yet what that difference consists of, except =
to use
terms like colouring and describing beats in chords with words that =
sortof
relate a kind of moodish analogy. But I dont think I would have any =
trouble
recognizing that this particular temperament was not ET when I heard =
it in a
blind test. Actually I cannot imagine that I would not be able to. =
</DIV>
<P>I dont think I have a particularily exceptional ear, so I can only =
think
this has to do with training as a piano tech coupled with both a =
reasonably
good musical ear and a good deal of studying about partials and beats =
as they
relate to ET and the inharmonicity problem. I doubt seriously that =
this latter
has much to do with being able to hear the difference, but who knows. =
Also, at
least 30 % or so of the students in the UiB hear that there is a =
substantial difference quite easily when they sit to play. And after a =
bit of
expererience playing on this that percentage goes up quite a bit.
<P>I think really its not so much a matter of what we can hear as it =
is what
we are used to listening for, intuitively and conciously. Fact is this =
really
hasnt been an issue for quite some number of years now, so it shouldnt =
suprise
anyone if there is an apparant lack of ability to discern the =
difference
between ET and a given HT amoung a substantial percentage of the =
population.
<P>my inexperienced musings. <BR> <BR> <BR>
<BLOCKQUOTE TYPE="CITE"> <BR><FONT face=Arial><FONT =
color=#000000><FONT
size=-1>Bill Bremmer RPT</FONT></FONT></FONT> <BR><FONT =
face=Arial><FONT
color=#000000><FONT size=-1>Madison,
Wisconsin</FONT></FONT></FONT></BLOCKQUOTE>
<P>-- <BR>Richard Brekne <BR>RPT, N.P.T.F. <BR>Bergen, Norway =
<BR>
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