even tone?

[Delwin D Fandrich]

Michael Jorgensen wrote:

>  I call this balance,  my goal is to balance the percieved power of
> registers.   As for trying to make the bass equal the treble in character, I
> don't really enjoy pianos that do a "better job"  at this as well as the ones
> that don't.  (from a musical standpoint).

I also call it balance.  It is not possible to make the tonal character of a
2,000+ mm long, high-tension copper-wrapped string equal that of a 52 mm plain
steel tri-chord.  But it should blend smoothly from one extreme to the other.


> Yet I do try to mask the bass
> break, but I'm not sure this matters that much if the break is in the right
> spot for the music.

For which piece of music?  Does this mean that we need a different instrument
design for each different composition?  Or does the composer now dictate the
precise design of the instrument?



> Fascinating concepts!   Del Fandrich made a point awhile back  that  from a
> design standpoint, it makes sense to have  more bass notes than the typical
> 20 note bass of Baldwin and Steinways.  Yet  the  pianos which have extra
> bass notes do not to agree with me musically.  One example is the 9' Conover
> which (I believe had f# was the lowest tenor string).   The change of
> register seems in the wrong place musically and is most annoying on certain
> classical music.

If done well the bass/tenor cross-over should be musically transparent.  If you
are bothered by the change of register in the 9' Conover it is not because of
where it is made, but how it is made.  There is a lot more to piano design than
choosing to make the bass/tenor transition after 22 notes rather than 20.


>      Try improvising/composing in HT!  The creativity is enhanced by  the
> limitation of avoiding certain intervals and keys due to thier beat speed
> tensions.  This forces creative thinking i.e working to avoid intervals in
> certain instances eliminating the possiblilty for predictable music.  The
> result is better music.  Is this why there are no composers today born of ET
> who rival or even come close to the old masters?

Personally I rather doubt that all musical talent and inspiration has been
destroyed by the prevalence of the equal temperment.

Regards,

Del