As long as the temperament used is not distracting in a negative way from the music, it really doesn't matter. Use whatever temperament you desire. If the octaves and unisons are clean, and the tuning is stable, it is a great tuning.
Our industry puts way too much emphasis on tuning. If technicians spent equal time voicing the world would be a much more musical place.
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Ryan Sowers
Olympia WA
360-705-4160
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Original Message:
Sent: 08-07-2019 12:15
From: David Pinnegar
Subject: Comprehensive Cost-Benefit Analysis of Equal Temperament and Unequal Temperament
For the past dozen years I have been demonstrating that the Unequal Temperament I tune is suitable for all pianos and all types of music.
Look up YouTube
Gershwin Unequal Temperament
Debussy Unequal Temperament
Prokofiev Unequal Temperament
Bach Unequal Temperament
Beethoven Unequal Temperament
Brahms Unequal Temperament
and you can draw your own conclusions.
Best wishes
David P
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David Pinnegar, B.Sc., A.R.C.S.
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+44 1342 850594
Original Message------
"Pianos are tuned to make music. You might want to include a consideration of the music being played!!" (Quote by Ed Sutton).
The suitability of each of the two tuning systems in question (equal temperament and unequal temperament) for as many different styles of music as possible could be considered.
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Roshan Kakiya
Original Message:
Sent: 08-07-2019 07:38
From: Ed Sutton
Subject: Comprehensive Cost-Benefit Analysis of Equal Temperament and Unequal Temperament
Pianos are tuned to make music.
You might want to include a consideration of the music being played!!
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Ed Sutton
ed440@me.com
(980) 254-7413
Original Message:
Sent: 08-07-2019 07:28
From: Roshan Kakiya
Subject: Comprehensive Cost-Benefit Analysis of Equal Temperament and Unequal Temperament
Would a comprehensive cost-benefit analysis of equal temperament and unequal temperament indicate which of these two tuning systems is more beneficial?
An exploration of the mathematics of both tuning systems could form a part of this analysis. There are many other factors that should also be considered such as the current practical methods of tuning and the current ways of dealing with inharmonicity.
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Roshan Kakiya
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