back from K.C. David A / Stopper /P12 authorship

[Bernhard Stopper]

Ric,

The guy who put you into the trail to P12 you was André Oorebek from 
Amsterdam (you figured out in another post) and  "a rather small article 
i found about in the seventies" (your own words, you still have to find it)

Both indicates and proofs that it was not yourself who pushed you up 
into the thing. In practice, the "other guy" already did so. Now for the 
theory: Arnold Duin from Amsterdam, a former companion of André Oorebek, 
told me at a Mensurix workshop i hold in Amsterdam a few years ago at 
their convention that they learned the major 
sixth-doubleoctavemajorthird test from their old teacher who was not 
firm with any theory about tuning, but a good tuner. They tried to 
convince him, that it is not correct to do so from tuning theory. Some 
years later, after my publication in euro-piano, they began to adapt  to 
the  P12. The article you mentioned was probably mine (the initial 
publication of the pure twelfth temperement or "Stopper-Tuning" in 
euro-piano 1988) So your finding was indirectly (via Andre) and probably 
directly (the article) initiated by my work about the matter. I really 
hate to offend other people, but you do so to me a little by continously 
claiming independent authorship on the theoretical matter in your posts.

It was always my intention with the P12 temperament to get the tuning 
theory compatible with what the best aural tuners tend to do, while the 
standard 12th root of two tempermant theory is not so. Mathematically 
the 19th root of three temperament is on a first look only one approach 
between thousands of possibilities to split the pythagorean comma on 
either side of the fifths circle.

More important (if not sensational, sorry for the self-praise) is my 
finding of the beat symmetries (or symmetric interfenrence phenomene) 
inherent in only this equal temperament four years ago, cancelling out 
the beats in octave and fifths combinations and thus turning a tempered 
tuning into pure tuning when playing chords. And this the proof why this 
tempermant is superior to any other.


regards,

Bernhard Stopper


Richard Brekne schrieb:
> Hi Jason.  To take your thought a step further, The guy who first put 
> me on the trail of the P-12ths idea showed me a series of test 
> intervals. A major third, major sixth, octave 10th and double octave 
> 10th. For tuning C6 for example,  the relevant notes would be Ab3, C4, 
> F4, C5, and C6, with the Ab3 being the control note the whole way.  
> The Third should be slowest, but just slightly slower then the 10th. 
> The 6th should be fastest, again by a very slight amount, and the note 
> you are tuning... the double 10th should be just inbetween the 6th and 
> the other two. This makes the 12th below C6 just very slightly off 
> pure. Just got me thinking back then that it would be easy to use 
> Tunelab to do this directly
>
> David Anderson using the clean fourths this way moves in a very 
> similar direction.
>
> Cheers
> RicB
>
>
>
>     Yes. As I think about it, I recall that David Andersen puts great
>     emphasis
>     on the fourths, especially on the way down through the tenor. Now
>     fourths do
>     happen to have the coincident partial that is a P12 from the upper
>     note. So
>     in a manner of hearing, David is emphasizing P12 in his own way. Hmm.
>
>     Jason
>
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