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Author Topic: Tuning Methodology- In the box or outside the box  (Read 3016 times)

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David Summers

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Re: Tuning Methodology- In the box or outside the box
« Reply #40 on: August 14, 2019, 09:28:48 AM »

approximation to just intonation
So each row was tuned to just intonation based on the tonic note in that diatonic scale? Presumably 5 limit?

Yes that would give issues cross rowing, definitely on a semi tone box, need to think a bit how bad on a fouth appart box.

Now on an instrument that only plays in one key, I can understand just intonation, but why on earth not do twelve equal tones on an instrument designed for different keys is beyond me ...

Edit: Just worked out what happens on a fouth appart DG box when tuned with 5 limit just intonation. There is only one duff note when cross rowing, and that is the E; the E on the D and G row are in an 81/80 resonace, that would sound grim .... If my maths is right that is almost a 22 cents difference ...
« Last Edit: August 14, 2019, 09:41:27 AM by David Summers »
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blue eyed sailor

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Re: Tuning Methodology- In the box or outside the box
« Reply #41 on: August 14, 2019, 10:00:03 AM »

maybe 1/4 comma meantone would be worth considering then...
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David Summers

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Re: Tuning Methodology- In the box or outside the box
« Reply #42 on: August 14, 2019, 03:52:15 PM »

maybe 1/4 comma meantone would be worth considering then...
Well its technically a syntonic comma  ;)

But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

I can't imagine what you would do with a fretted instrument like a guitar on just intonation.

Edit: Oh cluck! Just discovered Theo having a go at me back in 2005
« Last Edit: August 14, 2019, 08:23:54 PM by David Summers »
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Theo

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Re: Tuning Methodology- In the box or outside the box
« Reply #43 on: August 14, 2019, 04:05:06 PM »


But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

Until your ears have been opened to the full horror of major thirds in 12TET
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David Summers

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Re: Tuning Methodology- In the box or outside the box
« Reply #44 on: August 14, 2019, 04:24:16 PM »


But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

Until your ears have been opened to the full horror of major thirds in 12TET
Well a 5/4 resonance sounds seriously flat to my ear! (such is my exposure to TET!)

I guess where this moves on from an academic discussion, is on instruments like bag pipes, that are keyed, and often just intonation. I have musical friends who refuse to listen to bagpipes becuase they are so far out of tune! And it makes it a bit of a mare for a piper to play with anyone else other than another piper in the same key :)
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blue eyed sailor

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Re: Tuning Methodology- In the box or outside the box
« Reply #45 on: August 14, 2019, 04:37:34 PM »

Until your ears have been opened to the full horror of major thirds in 12TET

Yes indeed - fortunately an English concertina has, as you of course know, two enharmonic doublings in every octave, which are allowing to keep the "Wolf" (pun can't pass unnoticed here) at bay.

I really like meantone tuning for playing solo (only downside being the loss of an additional lower note on the left hand side; yes, still talking of an English concertina, I apoligize to the community).

Can anyone point to recordings of meantone-tempered melodeons?

Best wishes - Wolf
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Hohners: 2x Preciosa Bb/Eb (tremolo / light swing) - Club IV Bb/Eb - Morino Club C/F
Presswood C/F - Pokerwork C - Verdi II (PA) - Lucia IV (PA) - Starlet (PA)

Weltmeister 509 G/C/F - Juwel (PA) -- Horch C/F (12 bass) -- Cantulia Bambi 26 (PA)
and: Castagnari Giordy G/C

be warned of my SC page, mainly concertina thus far
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