[CAUT] Too tall!!??

[tnrwim at aol.com]

Here is something else you might want to try. Maybe not for this concert, but sometime in the future. When I was at UA, I accidentally tuned one of the B's to the page for the D on my SATIII. Surprisingly, there was very little I had to change, not any more than I usually had to do when I tuned that B. I didn't notice it until I was done. The end result was extremely acceptable. 

Wim





-----Original Message-----
From: David Love <davidlovepianos at comcast.net>
To: caut at ptg.org
Sent: Wed, Apr 7, 2010 7:06 pm
Subject: Re: [CAUT] Too tall!!??


The important thing in duo piano work is to be sure that A4 is the same
itch on each (some ETDs fudge that number) and try and get the temperament
ctave as close as possible.  Steinway B's and D's have different
nharmonicity curves because the scaling is different and so there can be
ome problems with trying to achieve a perfect match.  However, most 4 hand
usic doesn't have the pianos playing in unison at the extremes of the piano
nd slight variations in pitch in the upper and lower octaves will probably
o unnoticed.  Nevertheless, if using an ETD I would check the upper stretch
umbers and try and get C88 as close as possible since if they do play in
nison it's at the upper end of the piano where the mismatch will be most
vident.  Uneven stretch numbers for the lower end probably don't really
anifest themselves until the lowest octaves where it isn't as important and
nison playing occurs less.  The goal should always be perfect unison (I
gree with Susan) and it will be evident in certain types of music if it's
ff.  Pianos that have very different scalings can present real problems
hen the inharmonicity numbers are very far apart.  Tuning certain Yamahas
nd Steinways together, for example,  forces you to make a compromise with
ne or the other.  Then, you just do the best you can.  
David Love
ww.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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