What about when playing with other instruments (acoustic guitar, violin, silver flute)... Is there a compromise in terms of temperament, somewhere in between equal and just?
On Thu, Apr 17, 2008 at 2:59 AM, <[EMAIL PROTECTED]> wrote: > > Here's my 2 cents on the temperament issue: > > It's all well and good to have the chart showing the variation of each > note > from equal temperament, and I speak as a scientist-type who likes things > to be > clear, concise, and preferably in a table where I can look them up. With > that > said, I don't think the chart is the best approach. > > Here's my strategy for tuning my strings and tangents: > > 0.5) Play for a while with the strings pretty much in tune, to get the > instrument warmed up. If you do the steps below when the instrument is > cold, > you'll have to do it all again when it warms up. Apply fresh cotton to the > chanters and trompette. > > 1) Tune the first chanter to a standard (such as an electronic tuner) > > 2) Adjust the chanter nut so that the octave tangent is straight up and > down. > The tuner can be helpful here, but your ears should ultimately be able to > tell > you when the octave is in tune. > > 3) Check that the chanter is still in tune to the standard. > > 4) Tune the second chanter to the first. > > 5) Adjust the chanter nut of the second chanter, also adjusting the > tangent so > that both tangents hit the strings at the same time. > > 6) Disengage the second chanter, and tune the trompette by ear to the > first > chanter. Use the appropriate key if you need a reference as to > approximately > where to tune the trompette (i.e. a 4th or a 5th) but in the end the > trompette > should be tuned to a pure interval with the chanter. With practice, > you'll > know it when you hear it: it will sound "right", as in, "Ah, that's it." > (If you check the trompette tuning with an electronic tuner, it will be > "off" > by a bit. This is expected, because you used a pure interval.) > > 7) Use the trompette as your reference to tune the tangents on the first > chanter. Some intervals will be easy to identify as being right, some not > so > much - just do the best you can, and practice, and refer to a tuner if > needed, > but remember that your ears are the best judge. Check the tuning between > the > chanter and the trompette regularly so that you know that it's still pure. > > 8) Disengage the trompette, engage the second chanter, and use your newly > tuned tangents as the reference point for tuning the tangents on the > second > chanter. Remember that these tangents must not just be in tune with no > warbles or beats, but must also touch their respective strings at the same > time. > > 9) Use either one or both chanters as the reference for tuning the > remaining > drone strings: mouche, petit bourdon, and gros bourdon. > > 10) You're in tune: play! > > Your mileage may vary on this method, and it's best for just playing with > other HG's or anyone else in just intonation in your key of choice. > > When I started playing HG, I was a tuner addict - the tuner was God, it > told > me what the note should be, and I should adjust it to that note or else. > I > first started to realize that something was wrong when I'd tune the C key > tangents with the tuner and tune my trompette in C by ear to the G > chanter, > and find that my C key was discordant with my trompette. If I tuned my > trompette with the tuner, it didn't sound as good with the chanter. Cali > encouraged me to use my ears more and my tuner less, and I've slowly found > my > way away from the electronic aid. It's not that tuners are inherently > bad, > it's just that they don't always give HG players the best advice. > > Enjoy, and happy tuning, > > Alden > >
