----- Original Message ----- >From: caut-request at ptg.org >Message: 1 >Date: Tue, 24 Feb 2009 06:07:11 -0800 >From: "David Love" <davidlovepianos at comcast.net> >Subject: Re: [CAUT] professor tuning variables (David Love) >To: <caut at ptg.org> >Message-ID: <001a01c99689$30066060$90132120$@net> >Content-Type: text/plain; charset="US-ASCII" >Not so much a matter of difficulty, I just haven't taken the time to learn >the WTs (even though I do have Jorgensen's book). At some point you just >have to choose where to spend your limited time and energy. Since I don't >set temperaments aurally anymore it's not really an issue anyway. >David Love I have no beef with you here, David, or with anyone else either, for that matter. To each his own. It just seemed ironic to me that someone who eschews ETDs and insists on tuning exclusively by ear should raise this a question with this particular twist... To such, I say, extensive us of WT's would save time and trouble... Israel Stein www.davidlovepianos.com -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Israel Stein Sent: Tuesday, February 24, 2009 5:14 AM To: caut at ptg.org Subject: Re: [CAUT] professor tuning variables (David Love) David, Very interesting. ET is the most difficult and time-consuming temperament to tune aurally. In comparison most WT's are a piece of cake - at least half and often substantially more intervals are tuned beatless. Extensive use of WT's aurally would actually save time as compared to ET or at the very least be time-neutral, if tuners ever bothered to learn them. Only goes to show that given long enough, prisoners learn to love their shackles. Israel Stein > > Message: 2 > Date: Mon, 23 Feb 2009 18:14:01 -0800 > From: "David Love" <davidlovepianos at comcast.net> > Subject: Re: [CAUT] professor tuning variables > To: <caut at ptg.org> > Message-ID: <00cf01c99625$8fa9dc40$aefd94c0$@net> > Content-Type: text/plain; charset="us-ascii" > > Damn, got me there. > > David Love > www.davidlovepianos.com > > > > > If not for ETDs, it wouldn't be an option today. How about a > show of hands for those offering a plethora of alternative > temperaments tuned aurally. > Ron N > ------------------------------ Message: 2 Date: Tue, 24 Feb 2009 09:12:47 EST From: A440A at aol.com Subject: Re: [CAUT] professor tuning variables To: caut at ptg.org Message-ID: <c02.536db586.36d55a5f at aol.com> Content-Type: text/plain; charset="US-ASCII" Ron writes: << If not for ETDs, it wouldn't be an option today. How about a show of hands for those offering a plethora of alternative temperaments tuned aurally. >> Um, I only got one that I can comfortably do aurally, but what's the point? Historically, technology has virtually always driven the changes in intonation. New tech, new musical results. Why should now be any different? I did follow Jorgensen's aural instructions for a number of the well-temperaments, and it ain't rocket science. I did it to see how close the theory was to the numbers from within a machine. I couldn't tell an appreciable difference between the two approaches, so of course, I take the easiest one. It allows control of stretch without consecutive rising rates, and it removes several difficulties, such as minor pitch corrections while tuning. Regards, Ed Foote RPT http://www.uk-piano.org/edfoote/index.html www.uk-piano.org/edfoote/well_tempered_piano.html <BR><BR><BR>**************<BR>A Good Credit Score is 700 or Above. See yours in just 2 easy steps! (http://pr.atwola.com/promoclk/100126575x1218822736x1201267884/aol?redir=http:%2F%2Fwww.freecreditreport.com%2Fpm%2Fdefault.aspx%3Fsc% 3D668072%26hmpgID%3D62%26bcd%3DfebemailfooterNO62)</HTML> ------------------------------ Message: 3 Date: Tue, 24 Feb 2009 09:28:10 -0500 From: "Ed Sutton" <ed440 at mindspring.com> Subject: Re: [CAUT] professor tuning variables (David Love) To: <caut at ptg.org> Message-ID: <102148BC6ECA421D803D2F2807EA9BEA at EdPC> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Jorgensen's book is not necessarily the most helpful in learning to tune WTs aurally. WTs can be revisited using 20th century techniques using A as the pitch standard. For an easy start, consider that several useful WTs temper A-C# the same as ET. thus it is possible to begin with a stack of equal tempered M3's in the A octave, then proceed using A and C# as reference pitches. Bill Bremmer has refined a "Victorian" WT that he demonstrates often at PTG seminars. For meantones, set A-C# however you want, divide it into equal-beating fourths or fifths, then set the other thirds to the given notes. Ed S. ----- Original Message ----- From: "David Love" <davidlovepianos at comcast.net> To: <caut at ptg.org> Sent: Tuesday, February 24, 2009 9:07 AM Subject: Re: [CAUT] professor tuning variables (David Love) > Not so much a matter of difficulty, I just haven't taken the time to learn > the WTs (even though I do have Jorgensen's book). At some point you just > have to choose where to spend your limited time and energy. Since I don't > set temperaments aurally anymore it's not really an issue anyway. > > David Love > www.davidlovepianos.com > > -----Original Message----- > From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of > Israel > Stein > Sent: Tuesday, February 24, 2009 5:14 AM > To: caut at ptg.org > Subject: Re: [CAUT] professor tuning variables (David Love) > > David, > > Very interesting. ET is the most difficult and time-consuming > temperament to tune aurally. In comparison most WT's are a piece of cake > - at least half and often substantially more intervals are tuned > beatless. Extensive use of WT's aurally would actually save time as > compared to ET or at the very least be time-neutral, if tuners ever > bothered to learn them. Only goes to show that given long enough, > prisoners learn to love their shackles. > > Israel Stein >> >> Message: 2 >> Date: Mon, 23 Feb 2009 18:14:01 -0800 >> From: "David Love" <davidlovepianos at comcast.net> >> Subject: Re: [CAUT] professor tuning variables >> To: <caut at ptg.org> >> Message-ID: <00cf01c99625$8fa9dc40$aefd94c0$@net> >> Content-Type: text/plain; charset="us-ascii" >> >> Damn, got me there. >> >> David Love >> www.davidlovepianos.com >> >> >> >> >> If not for ETDs, it wouldn't be an option today. How about a >> show of hands for those offering a plethora of alternative >> temperaments tuned aurally. >> Ron N >> > > ------------------------------ Message: 4 Date: Tue, 24 Feb 2009 14:58:10 +0000 From: "Dr. Henry Nicolaides" <drsnic4 at hotmail.com> Subject: Re: [CAUT] Practicing on concert hall pianos piano To: College and University Technicians <caut at ptg.org> Message-ID: <COL120-W15494682DB9CC4BB06675BFAAF0 at phx.gbl> Content-Type: text/plain; charset="windows-1252" Hi Chris, I couldn't help but reply since you have been to SIU. As you know, we have one (1), yes only one recital hall to use for student and faculty recitals. It has one three year old Steinway B and one Yamaha U1 on the stage. I've also moved the two manual harpsichord to the back of the stage due to one new faculty requesting its use. We share the hall with other groups such as the many guitar ensembles that need to practice in a hall situtation. Then there are the "rehersals". The student and faculty recitals are scheduled back to back so I can prep and tune for one at 3 PM but the piano faculty recital at 7:30 follows the voice (or other) recital at 5. Then there are the local teachers that use the hall the following day (Sunday) for their kids recitals. Also the piano grad students can practice on the Steinway whenever. If I wat to pull the action, regulate, voice etc, I have to come in late night or early morning. Now that I've spent some time with the piano and seated the strings on the bridge, voiced, and regulated it the grad students want to use it even more. For clarification, the main auditorium, Shryock, has the two Baldwin SD-10's. The School of Music only uses that facility for orchestra and choir and only because of the size of the stage. Just a couple of years ago they (somewhere in administration) decided to charge the School of Music for recital usage. So everything that can be done in our small hall with the "B" is done there. Is is not a travesty that piano faculty and students are relagated to use and have their performance recordings done on a "B" rather than on a "D" that now sparkles but is used only as a grad sutdent practice piano in the choir room? Henry Nicolaides Piano Technician School of Music, Southern Illinois University Carbondale, Illinois 62901 email: henryn at siu.edu From: purdy at ohio.edu To: caut at ptg.org Date: Tue, 24 Feb 2009 08:38:57 -0500 Subject: Re: [CAUT] Practicing on concert hall pianos piano We have exactly the same policies and identical problems. What infuriates me the most is that it is the faculty that ignore and abuse the policy. Then they are the ones to complain about the condition of the pianos. I have been to faculty meetings and explained the problem. Everyone seems to agree that we need to limit "practice" time on performance instruments, and then go right ahead and do whatever they choose. I find them even giving lessons in the hall or rehearsing for hours early on a weekend or late at night when they can find the hall free. Their arrogance is frustrating but when they then complain about the condition of the pianos, that really burns me. And the hall is always heavily booked. For crying out loud, I have to schedule weeks in advance to get in there to tune. The poor pianos are scheduled for use ten hours a day then add the squatters sneaking in there at all hours. And people wonder why piano tuners are so grumpy all the time. Chris On Feb 24, 2009, at 7:53 AM, Graves, Tony J. wrote: I agree with David....More playing equals more wear and tear. I wish people would understand me here. In our main recital hall it can have up to 8, or more recitals a week. We have 2 piano a D and an old CF, but were an A. S. S. school so everyone plays on the Steinway no matter who or what their playing the piano for. The so called "policy" here is that students get 1 hour and faculty get 2, for rehearsal, but it usually ends up at 2 and 2 and sometimes more. The use of the the piano doesn't stop there. It also gets used for piano studio classes every week we have 4 piano faculty and they each have 2 hours, grant it they may not always use the full 2 hours. Sometimes the faculty use it for their own practice time. Then there are other groups that use the piano too. So the hall is booked heavily everyday. One thing that really made me mad toward the end of the fall semester was one of the piano faculty said it was a "substandard performing instrument" I told him that with all the use it gets it's hard to keep the "Concert Piano" in peak performance with the use it gets and the limited time I have in the hall. So some of you should consider yourselves lucky. Christopher D. Purdy R.P.T. Registered Piano Technician School of Music, Ohio University Rm. 311, Robt. Glidden Hall Athens, OH 45701 Office (740) 593-1656 Cell (740) 590-3842 fax (740) 593-1429 http://www.ohiou.edu/music _________________________________________________________________ Windows Live? Hotmail?:?more than just e-mail. http://windowslive.com/explore?ocid=TXT_TAGLM_WL_t2_hm_justgotbetter_explore_022009 -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut_ptg.org/attachments/20090224/60359634/attachment-0001.html> ------------------------------ Message: 5 Date: Tue, 24 Feb 2009 10:01:47 -0500 From: "Mike Morvan" <keymaestro at verizon.net> Subject: [CAUT] contact information To: "caut ptg chatline" <caut at ptg.org> Message-ID: <4F8D880C04B642D19B4481EFCE0103A0 at MCO2880> Content-Type: text/plain; charset="iso-8859-1" List, Sorry for the confusion, we tried one of those bundle packages for phone, internet and cable television and it did not work out. Our contact information is the same as before. Email: keymaestro at verizon.net (508) 278-9762 or you can always get me through our website. Thanks, Mike BLACKSTONE VALLEY PIANO Michael A. Morvan 76 Sutton Street Uxbridge, Ma 01569 (508) 278-9762 www.pianoandorgankeys.com mike at pianoandorgankeys.com www.thepianorebuilders.com -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut_ptg.org/attachments/20090224/c695a68a/attachment.html> ------------------------------ _______________________________________________ CAUT mailing list CAUT at ptg.org http://ptg.org/mailman/listinfo/caut_ptg.org End of CAUT Digest, Vol 4, Issue 66 *********************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut_ptg.org/attachments/20090224/8c2dd9d5/attachment-0001.html>
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