Hi Ed, Sorry you're going to get two copies of this but I failed (again) to notice the return mail address. I love your descriptions (awakened & drooped, especially). Ed Foote wrote: > OK, there was four or five unisons that had awakened, and a fifth or >so above the bass break had begun to drop, and um lessee......, oh yea, the >top two octaves had progressively drooped so that C88 was about 5 cents >flatter than I had left it. otherwise it was just perfect (:)}} Yesterday afternoon I was listening to someone practicing in the recital hall for a flute recital that night. I thought the piano sounded pretty good and didn't even really need any touch-up. So I went ahead and tuned the harpsichord, which was also being used, and then checked the piano just to be sure. Surprise! I found quite a few unisons that bothered me, but they weren't even noticeable while the piano and flute were playing. I'm not advocating sloppy tuning at all, but I sometimes wonder if we don't get so hung up on doing that "perfect" tuning that we don't hear the real music. I know there have been times when there were 4-5 recitals on a Saturday or Sunday and I didn't have time to do a complete tuning when I was worried about the piano sounding OK. Then I ask about it the next day and am told that everything sounded great. Thanks for the reply. Avery > I did the Coleman chant of "unisons, unisons", then straightened up the >bass break, but had to leave the the top end alone, other than two unisons >that had not made the trip downward together . > > Nobody in the hall noticed, got my compliments from the performer, Dean, >etc. hell, I didn't even notice the top end flat, and I was listening for >it. > That music sure gets in the way of really being able to hear a >tuning................... _____________________________________ Avery Todd, RPT Moores School of Music University of Houston 713-743-3226 atodd@uh.edu _____________________________________
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