Ed Foote schreef:
> [...] (Owen J. told me that Murray, upon describing a Young tuning,
> said, "that would just sound out of tune piano!") [...]
This sounds like a slur, but since it's now at third or fourth hand, we
can only speculate as to whether it was so intended by Owen J.
But as a matter of fact, I recall that MB *did* write something which
might be misconstrued - or distorted - thus. Unfortunately I haven't
got the source at hand. Maybe an article about JSB's tuning? What he
wrote, if I'm not misconstruing or distorting, is that if we assume that
piano strings are detuned in proportion to the frequency w/ which
they're struck, the resultant detuning will approach Young's
temperament, at least in the middle 8ve of the keyboard. MB assumes of
course that the C key will be struck more often than the G key, which
will be struck more often than the D key, &c. around the circle of 5ths
to F#. The same assumption counterclockwise around the circle from C.
I couldn't begin to cite his formulas or figgers, but it seems somehow
reasonable, in view of the symmetry and smooth gradients of Young. But
you have to read MB's fine print: this resultant temperament will
indeed be like Young, only transposed 1/2 an 8ve, that is, with F# as
the 'best' triad and/or key, and C the worst.
My conclusion: the more you play, the more you'll have to tune;
unless, of course, you start in the middle of WTC and work back in both
directions around the circle of fifths. Any takers?