The important thing in duo piano work is to be sure that A4 is the same pitch on each (some ETDs fudge that number) and try and get the temperament octave as close as possible. Steinway B's and D's have different inharmonicity curves because the scaling is different and so there can be some problems with trying to achieve a perfect match. However, most 4 hand music doesn't have the pianos playing in unison at the extremes of the piano and slight variations in pitch in the upper and lower octaves will probably go unnoticed. Nevertheless, if using an ETD I would check the upper stretch numbers and try and get C88 as close as possible since if they do play in unison it's at the upper end of the piano where the mismatch will be most evident. Uneven stretch numbers for the lower end probably don't really manifest themselves until the lowest octaves where it isn't as important and unison playing occurs less. The goal should always be perfect unison (I agree with Susan) and it will be evident in certain types of music if it's off. Pianos that have very different scalings can present real problems when the inharmonicity numbers are very far apart. Tuning certain Yamahas and Steinways together, for example, forces you to make a compromise with one or the other. Then, you just do the best you can. David Love www.davidlovepianos.com >If you've ever heard the Moscow Chamber Orchestra, I think you can >agree that when a group of string players play absolutely together >and as on pitch with each other as is humanly possible, the effect is >ravishing! >Any two pianos will have enough variation in voice and scaling that >there will be plenty of richness and variety in the sound, without >the out-of-focus malocclusion of having differences in temperament >and pitch between them. >If you ever tune two pianos so closely together that the unisons >between them are as good as we usually seek on one piano, I don't >think you or the pianists will feel the effect is boring. It's quite >magical, IMO. >Susan
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