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From: polymod on 7 May 2008 07:02 "Glennbo" <vdrumsYourHeadFromYourAss(a)cox.net> wrote in message news:Xns9A96B09BC14B0BrownShoesDontMakeIt(a)69.28.186.120... > In news:48209639$0$15177$607ed4bc(a)cv.net the killer robot "polymod" > <polymod(a)optonline.net> grabbed the controls of the spaceship > cakewalk.audio and pressed these buttons... > > >> Of course some instruments (like piano) frequently are tuned to > >> stretch tuning, which isn't mathmatically perfect, but sounds better > >> to many people's ears than equally tempered tuning. > > > > Close. > > All pianos are still tuned by using the standard equal temperment > > (unless somone specifically asks for a different tuning....which for > > me has been never in over 30 years). Some tuners prefer to 'stretch' > > the A6 tp C7 range. > > So equal temperment is going read A=440 and in the next octave it will be > A=880 and so on? Exact halving and doubling from octave to octave? Yes. > I see Peterson has a stretch capable strobotuner. Electronic tuners that are capable of 'stretching' have been around for years. Mine dates back to 1977. Typically the smaller spinet pianos have high stretch numbers to compensate for the thickness of the bass strings which produce false harmonics. A fine quality grand will need little or no stretching of the higher and lower octaves at all. > Every piano I ever had professionally tuned for me, they got middle C up to > pitch with a tuning fork, then did the rest of it by ear. That is correct. Most tuners tune middle C to the fork, then tune the temperment octave which is F below middle C to the F above. This is the single most difficult aspect of tuning pianos. It's all a matter of timing the beats that the 4ths and 5ths produce with the 3rds and 6ths being 'checkpoints'. Poly
From: BobF on 7 May 2008 09:06 This is guitar-centric, but I found it to be a very interesting discussion on the trade-offs of equal temperament tuning. Perhaps some of you will also ... or not ... http://users.adelphia.net/~cygnusx_1/equal_temperament.html polymod wrote: > "Glennbo" <vdrumsYourHeadFromYourAss(a)cox.net> wrote in message > news:Xns9A96B09BC14B0BrownShoesDontMakeIt(a)69.28.186.120... >> In news:48209639$0$15177$607ed4bc(a)cv.net the killer robot "polymod" >> <polymod(a)optonline.net> grabbed the controls of the spaceship >> cakewalk.audio and pressed these buttons... >> >>>> Of course some instruments (like piano) frequently are tuned to >>>> stretch tuning, which isn't mathmatically perfect, but sounds better >>>> to many people's ears than equally tempered tuning. >>> Close. >>> All pianos are still tuned by using the standard equal temperment >>> (unless somone specifically asks for a different tuning....which for >>> me has been never in over 30 years). Some tuners prefer to 'stretch' >>> the A6 tp C7 range. >> So equal temperment is going read A=440 and in the next octave it will be >> A=880 and so on? Exact halving and doubling from octave to octave? > > Yes. > >> I see Peterson has a stretch capable strobotuner. > > Electronic tuners that are capable of 'stretching' have been around for > years. Mine dates back to 1977. Typically the smaller spinet pianos have > high stretch numbers to compensate for the thickness of the bass strings > which produce false harmonics. A fine quality grand will need little or no > stretching of the higher and lower octaves at all. > >> Every piano I ever had professionally tuned for me, they got middle C up > to >> pitch with a tuning fork, then did the rest of it by ear. > > That is correct. Most tuners tune middle C to the fork, then tune the > temperment octave which is F below middle C to the F above. This is the > single most difficult aspect of tuning pianos. It's all a matter of timing > the beats that the 4ths and 5ths produce with the 3rds and 6ths being > 'checkpoints'. > > Poly > >
From: Angof on 7 May 2008 09:14 "Sue Morton" <867-5309(a)domain.invalid> wrote in message news:Y83Uj.2181$nW2.248(a)nlpi064.nbdc.sbc.com... > All the guessing at my meaning didn't get it :-) > > I wasn't using 'intonation' in the 'musical' sense, rather in the > pronounciation sense... but as it applies to music. > > To illustrate. If someone says, "Baaaston", you know the word but the > sound is different from someone saying, "Boston". But it is possible for > either "Boston" or "Baaaston" to be intoned (speech) in such a way, that > it sounds off-pitch even though a scope will reveal it is ON pitch. It is > not due to overtones or resonance, it is the ear (brain) that *perceives* > the pitch is off (usually flat), when it really isn't. > > If you've never heard examples of this then you probably can't relate > until you do.... then you'll recognize it immediately. > -- > Sue Morton Hmm thats realy interesting. I wonder sometimes when a singer speaks and they have a totally different voice from their singing voice and I think "wow, they soudn so different!" I wonder if thats about intonation. I am from the south west of Britain and have a regional accent and particlarly when I started singing it used to come out all the time, partuicularly with long a's and long r's and when listening it would sound horrible. I think I have slowly developed that out of my voice when singing. Now I have got and listen for soem examples or practice it to see how it sounds. Angof
From: Sue Morton on 7 May 2008 09:35
I may have a clip somewhere that demonstrates this, when/if I have a chance I'll rustle it up. I don't think it is gift :-) but rather something that, once you've heard it, you can recognize it. -- Sue Morton sambodidley wrote: > I guess I'm just not blessed with that fine distinction of tonal > detection. To me, a belch (as well as any other body sound) would > not sound flat unless it was off pitch in context with the other > notes in the performance. That must be something one is just born > with.<g> |