Tuning

[Douglas Tate <100576.3265@xxxxxxxxxxxxxx>]

John

I'm interested in what you have to say about equal temperament. Some of it I
don't really agree with.   When I was building harpsichords I got very
interested in the various temperaments which had been 'invented'.  I read one
book, can't now remember what it was called, which listed over 300 different
ways of tuning temperaments.  Of course there was always the split keys
(usually on the 'wolf' g#/Ab) As you say, various pieces were written to take
into account the worsening noise of going away from the 'home' key. 

When it came to tuning for concerts, including a couple where the BBC had bought
one of my instruments, they used to insist on strict equal.  I used to find it
difficult to do this with a tuner and used the traditional methods of cycle of
4ths and 5ths. Joyous was the day when you ended up first time round arriving
home in tune.  I also used to find that I could tune better if there was some
noise going on.  That way you don't hear so much of the fundemental ... more of
the high harmonics. (thats OK if the string hasn't been kinked! Then the
harmonics are all over the place).  

On the harmonica I have to admit to not liking chords a hell of a lot.  As soon
as you start to play the darn things you have to rely on the harmonica itself
being in tune.  You may remember the discussion we had about the graphical way
of tuning.  The whole purpose of that was to get over the fact that different
reeds react, pitchwise, differently to changes in pressure. So, a chord which
might be in tune at mid volume is out at low or high volume.  

As you also say, session work is quite quick.  The biggest days work I have ever
done was on Freebie and the Bean 11,  done in Paris (Nat Peck, one of Glen
Millers trombonists was the fixer I remember).  Over 180 different cues, done in
one day (6 am to 9:30 pm I think)  Some of it was NOT nice.  You don't actually
think about it, you play!! It turns out that you also play in tune.  I would
think that if you had to think about playing in tune you would go crazy.  Maybe
I did!

Incedentally, the fretting on guitars is strict equal, or at least, the frets
are spaced at strictly 12th root. There is compensation at the nut  and bridge,
slants and pushes, but as soon as you are onto the frets, you are into Equal.
Not that any guitarist leaves it like that, they always basic tune the strings
towards a key and try to keep away from the body resonance.  After that its
individual finger work to make the thing sound good.  Interesting thing there is
that with a good guitar it seems to work itself into tune after you have played
it for a bit. (or are my fingers cleverer than I give them credit for)  This is
classic guitar.

I understan that Wes Montgomery was once asked how he did the thing with his
thumb.  The reply was 'I don't want to know'  implying that if he became too
aware of it he wouldn't be able to do it.

We examine more and more of less and less.  I think we are in danger of becoming
experst at something.

Douglas