<HTML>In a message dated 4/24/01 1:03:35 PM Central Daylight Time, A440A@AOL.COM writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The Victorian era is an efficient starting point.  I wonder if you customer will care to continue farther back into the stronger contrasts of earlier styles.  (You might mention that temperament represents a continuum within itself).</BLOCKQUOTE> One of the special features of the Equal Beating (EB) properties of the EBVT is that earlier music is much better represented than with any historically documented Victorian Temperament.  That's what makes it useful for playing virtually any kind of music.  The astonishing clarity comes from the EB effects found in both the temperament and octave tuning systems.   Unfortunately, these cannot be produced by any smooth curve calculated program used by any of the popular Electronic Tuning Devices. I thank John for his interest and comments, also those recently from Jay Mercier.  What John noticed about tuning the note F3 earlier in the sequence had also been discovered by Ola from Norway.  I wonder why I hadn't thought of it myself but the fact is that I had tried to keep the construction of the temperament as close to the way all of the typical historically documented temperaments were. I have, however, been interested in finding ways to tune even those from the note A as a starting point rather than C in order to assure standard pitch.   This bothers some HT practitioners, making them believe that A is the tonal center rather than C, which is simply not true. I think I will rewrite the instructions to where F3-A3 will be the only estimated interval (at 6 beats per second).  That should be easy for an aural ET tuner to adapt to.  If the estimate is good, every interval following that will either be pure or will beat exactly the same as another, which makes the EBVT much easier to get correct than ET. There are two other temperaments that I tune for which I use a different sequence than was historically documented but which produce the same results.  It is just easier for a person who has previously only tuned ET to learn, use and get correct each time:  the Vallotti and the Marpurg-Neidhardt Composite Quasi Equal Temperament.  If these can be done with an alternative sequence, there is no reason why my own EBVT can't be. I should have enough material for a 4 part Journal article, Explanation of Key Color, the EBVT, Tempered Octaves and the alternative sequences for the Vallotti and Marpurg.  The Marpurg should be of interest to many because it produces the very same neutrality that ET does but because of its 9 pure 5ths and 3 EB triads, it sounds much cleaner and clearer.  In my opinion, it is a much better alternative than the hyper expanded version of ET known as "ET with pure 5ths". Since the 2002 PTG Annual Convention will be in Chicago, my local area, it will be important for those of you who are interested in what I have to offer to let the Institute Directors know that you are interested both by direct requests and on surveys.  I would enjoy comparing the EBVT with ET again on Walter Grand pianos with Virgil Smith. Bill Bremmer RPT Madison, Wisconsin</HTML>