I am currently learning the Potter F-A temperament but as a beginner am finding it hard to identify accuratly the faster beating 3rds and 6ths. I came across this video of ET using the slow beating 4ths and 5ths which i could identify much easier:http://youtu.be/lSO80brsazM
Could anyone be so kind as to identify what temperament he was using?
It seems (for me) when listening that it creates a more accurate flow/feel of things when using the more 'pleasing' 4ths & 5ths as the primary measure.. When tuning the octives I noticed instead of using the 3rd/10th test he used 4th/5th. Does this help in setting the proper stretch?
Any help much apprieciated..
This is a very loaded question! Thanks to Chris Leslie for linking to my ET (Equal Temperament) via Marpurg article. I have actually taken that idea much further and will be presenting it at the next PTG convention.
To answer your very specific question about octaves, if you learn to tune the temperament the way it is presented in the article and the videos of me tuning it that PTG put on You Tube, you will be able to tune very beautiful octaves indeed and not by listening to jangling rapid beats but by finding the point where there is no beat at all!
In the video you referenced, the tuner says he is going to tune ET, so that is the "temperament" he is attempting. As others have suggested, what you are really asking is, "Which sequence for tuning ET is he using"?
The answer to that is that he is using a transposed sequence from the classic book by William Braide-White. That transposed sequence (or one very similar to it) can also be found in that book.
The problem is that most people who either use the original (from a C fork) or the transposed sequence (from an A fork) only depend upon the sequence alone and do not know or use the myriad of Rapidly Beating Interval (RBI) checks which are necessary to correct and guide the temperament through to completion.
The result will often be anything but ET! The man in the video displays that very well. He does manage to correct it somewhat but rather haphazardly.
The problem is that he has to literally guess at how much tempering each interval needs through several steps before he has a single RBI check to evaluate. If he guesses wrong on the first interval, he uses the result of that incorrect guess to guess again a second time and then a third and fourth time and so on. The only consequence of that can be a compounding of errors.
He may have followed the sequence dutifully. The fourths and 5ths may have been easily heard as opposed to those jangling RBI's but the problem is that those guesses were all just slightly inaccurate.
For an entire century or more, technicians have been claiming to tune ET just because they followed that particular sequence or some transposition of it but have deceived themselves and their clients in doing so.
To really and truly tune ET is far more complex than what you see in that video. However, if you really want to keep mostly to 4ths & 5ths, the ET via Marpurg idea will allow you to do so but I must say that nothing about piano tuning is easy. You still have to discern some RBI's in the very beginning.
PTG put these two videos on You Tube:http://www.youtube.com/watch?v=WmNtIjSVLiQhttp://www.youtube.com/watch?v=oVbyqoKoBk4
Then, the rest of the ET via Marpurg sequence which is all downhill from that (much easier) is documented here:http://www.youtube.com/watch?v=0DoA2gvBZ...wuxY2xY3g_y1Cv4http://www.youtube.com/watch?v=lifMmOQtNCw&feature=mfu_in_order&list=UL
While the complete information about how to tune the octaves up and down from this temperament is still in the process of being written, it is really a very simple matter. When the octave and corresponding 4th & 5th all sound alike, the octave is correct. When all four notes are played together, NO BEAT IS HEARD!
That is because the slight beats that there are in each of the intervals cancel each other.
When you progress to double and triple octaves, the same principal applies. Double octave and octave-fifth beats cancel each other. The result is a beatless sound! Doube octave-fifth and triple octaves also produce a pristine and beatless sound!
This actually means that you can use the principals (with just a bit of enlightened understanding) that a 17th or 18th Century tuner would have used to tune a modern piano to the very highest standards possible!
I must say again that nothing about piano tuning will be easy. If you intend to be a piano technician, you must embrace the profession whole heartedly. There is nothing wrong with exploring the subject to see if you like it or not and if it is for you or not. Sometimes, just learning enough about a subject to know when to leave it to professionals is enough.
Good luck with your exploration!