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At 06:39 PM 5/9/2002 -0400, you wrote:<br>
<blockquote type=cite class=cite cite><font face="Arial, Helvetica" size=2>Exactly
my point! String players (generally) believe that a "just"
major third is wider than tempered. Therefore, many performances of Bach
Partitas and suites are done in these wider than tempered major thirds,
including my own teacher! This seems impossible, but it is true. I
observed a rehearsal of the Juilliard Quartet, the mentors for most
American ensembles, in which every time a third seemed out of tune, they
attempted to fix it by raising the third (really high) to make it
"pure".<br>
<br>
Will talk some more, <br>
Michael Meade, RPT</font><font face="arial"> </font></blockquote><br>
There, you see, I'm NOT crazy! We (well, a lot of us) likes 'em wide, as
in BIG and WIDE, with high major thirds and sixths, succeeded by skinny
svelte little semitones. (Glad you showed up, Michael.)<br>
<br>
I have some more discussing to do with Bradley, which may help to sum up
my mental model for intervals and string intonation. <br>
<br>
Susan Kline, B.Mus., M.Mus., was a performing cellist, now an RPT. Played
quartets (for a living) as part of orchestra jobs, etc., but not at the
level Michael has. I did play quite a bit in piano combinations for a few
years there, before I ever learned piano tuning. Intonation with a piano
wasn't a problem, not like intonation inside a string quartet. I think
that this is because string players on their own have such a variety of
fairly plausible intonations, a much wider variety than a piano offers.
The variations all come in thirds and sixths, or nearly all. </html>