My point, exactly. Avery P.S. Ask a singer how they feel about 442 or even higher! I did and if you want to hear a rant....... >In that case rent a piano... > >David I. > >> -----Original Message----- >> From: owner-caut@ptg.org [mailto:owner-caut@ptg.org]On Behalf Of David >> Skolnik >> Sent: Thursday, October 26, 2000 8:39 PM >> To: caut@ptg.org >> Subject: Re: A-440 Policy? >> >> >> Newton, Newton, Newton, Newton, Newton, and the rest of you- >> >> I fear a number of essential points are being missed here in the >> service of >> venting over a different issue, namely administrative abuse... the same >> issue Bob Grijalva started to address a few days ago in his 'proposal for >> new staff' thread. The issue here is not how long it takes to alter >> pitch, or how much it costs, or who should pay. The real issues are the >> "sanctity" of A-440, and the acceptable mechanical tolerance of the modern >> piano. Both of these topics have, I think, been addressed previously on >> this list, or on pianotech. I'm too tired to check right now. >> 440 did not >> come from Mt. Sinai. The politics of 440 is an interesting and arbitrary >> story. >> 440 is politics and psychology. Why is there a propensity for elevated >> pitch, and how much elevation has to take place before a reaction occurs? >> What are the forces that propel high pitch or inhibit its >> proliferation? I >> believe Ken's statement : >> >> It is, after all, easily within the tuning range of all orchestra >> instruments as long as the oboe players bring reeds that are constructed >> for this standard pitch >> >> to be misguided By the time a player is at the level to be a part of an >> internationally recognized ensemble, he, or she, does not need a tuning >> fork to know if they are at pitch or not. They don't listen to pitch as >> much as feel it. The change Ken suggests would be as radical and >> disturbing as would be suffered by any piano in a pitch altering >> situation. >> Further, don't you think that the pitch a professional orchestra plays at >> goes a long way in defining its distinctive personality? Just because it >> says "International Pitch" don't make it so. >> >> From a mechanical point of view there are only two questions. How much >> pitch elevation can a concert piano safely sustain, and, are there any >> short or long term negative effects from such alteration The >> first part of >> the question should be addressed by someone who knows. I do not. The >> second is where I believe the problem resides. Convenience, budget, and >> energy aside, I doubt that the occasional pitch raise places any more >> tension on the system than does a bad summer. What will change in a pitch >> alteration however is the string leveling and thus the open >> string voicing. >> I have seen this happen. Either in its raised or restored >> state, there is >> no assurance that the strings will be in the exact same place in relation >> to the agraffe. If strings were pulled level, this could make a >> significant difference. >> >> This is the most significant effect I can think of. OK Newton, I'm ready >> for you...sort of. >> >> David Skolnik >> Columbia University >> New York >> >> >> >> At 09:12 PM 10/26/2000 -0400, you wrote: >> >> few viable options but to comply, although, you are certainly >> >> entitled to be compensated for your time and effort. >> > >> >Get the fire retarders out. >> > >> >Ignore it. The department, who's inventory is the piano and >> >pays the salary of the technician, is not a signatory to the >> >contract. I doubt there is a department around that is >> >willing to give up a day and a half, at least, of their >> >salary line employee. If the order comes, in writing, from >> >the chair person then orders is orders but once they realize >> >they will loose five or more department tunings the can get >> >more stubborn than I. >> > >> >Time is money, time is energy and time is not being given to >> >the students who deserve it more. >> > >> > Newton >> > >>
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