In a message dated 1/19/00 8:35:02 PM Pacific Standard Time,
jformsma@dixie-net.com writes:
<< OK, 'splain. Less internal stress? >>
Sorry it took me so long to reply. Tuning pianos, as with any job involves a
certain amount of physical and mental stress. I usually tune at least 4 or 5
pianos a day, sometimes 6 or 7. When you get into the sixth day of the week
(I usually do no more than 3 on Saturday), you can get pretty worn out.
Looking for ways to reduce the overall stress is important. I am glad that
you are practicing aural tuning now because you need to be a good aural tuner
before you can really use an ETD effectively. The two greatest advantages of
the Sanderson Accu-Tuner (SAT) are the consistency it affords and the
reduction in stress it provides.
When tuning aurally and after I have completed the F3-F4 temperament octave,
I usually fill out the notes in the tenor or middle section below F3. Then
starting at F#4, I tune up in whole steps. If it is a major pitch raise, I
do it all the way to the top. If it is more like a first rough pass on a
tuning which isn't too far off pitch, I only tune to the top of the middle
section, then come back to G4 and tune up in whole steps. Then I do the
treble and high treble each as a section.
The point about finding the pin when tuning in whole steps is that it is
really no more difficult than chromatically. In other words, you shouldn't
avoid tuning in whole steps because you find it difficult to locate the pin.
It is always in a straight line whereas when tuning chromatically, it is a
zigzag pattern. It is my subjective opinion that tuning up the octaves in
whole steps with the strip mute is far less stressful than to go string by
string chromatically, having to constantly insert and remove the mute(s).
<<Do you go C-D-E-F#-G#-A#-C all the way up and down, then the rest of the
notes up and down?>>
I usually go all the way up on one set of whole steps, then the other. Then
I pull the strip out note by note tuning the right and string of each unison
in the treble and high treble. Then I tune the remaining left string by
going up in whole steps then the other set of whole steps on the way back
down. I then do the bass by descending in whole steps on one set, then the
other. Then I pull the mute strip out and tune the unisons in whole steps.
On all but a few oddly patterned bass sections, the pins again are all in a
straight line, you just skip every other one. To me, this really is easier
than tuning bichord unisons chromatically.
<<Do you rely exclusively on your octave-fifth and double octave tests, or do
you use 3rds, 10ths, 17ths as well? >>
Since I virtually never tune a piano in ET (except for the PTG RPT Tuning
Exam), I expect my 10ths and 17ths to be uneven so I concentrate mainly on
the double octave and actave and 5th comparison. However, if you are
consistent in your comparison of the double octave and octave and a 5th and
your F3-F4 Temperament octave is a good, smooth rendering of ET, you will
find that your 10ths and 17ths are just as smooth when doing this. You can
use them to smooth out any irregularities just as you do in the temperament
octave. Tune the Slowly Beating Intervals (SBI) first, then check and fine
adjust with the Rapidly Beating Intervals (RBI).
<<(I have found that my ear prefers a more pure octave-fifth than a double
octave,
so I tend to tune a sharper treble.)>>
This is in line with what most people think sounds best today. However, if
you do this on the PTG RPT Tuning Exam, your 7th octave will be too sharp
although you may still have a passing score. Also, some people and certain
circumstances call for much less stretched octaves. The challenge is to know
the difference and to be able to do what you are asked to do, even if it
isn't what you usually do or it isn't what you think sounds best.
<<<<It usually only takes me 45 minutes to tune the piano twice over
completely and have a very good, stable job.>>>>
<<That is pretty fast. Do you test on the first pass, or rely on octave sound
alone?>>
When doing a pitch raise, you would always leave beats in the octaves, from
just a hint to quite a few, depending on the amount of the pitch raise.
Therefore, testing intervals is not done on the pitch raise or first rough
pass. What I do sometimes is test the stability of the pitch I have tuned.
It is very easy in the treble and high treble to make a stroke with the
tuning hammer which results in the pitch of the string being slightly sharp
of the intended pitch, but which can be knocked right back down and sometimes
even beyond the starting point with a few good test blows. A little extra
time spent making the note hang on to what you intend, even if it is only
approximate, is often important. It will mean the difference between getting
a stable tuning on the second pass and having to do it a 3rd time.
<>
For me, a "regular" tuning includes 2 passes. Sometimes, on a very old piano
with lots of problems, I will do other work such as tightening screws,
spacing, cleaning, capstan adjustment, etc., then do a one pass tuning. If I
get done in an hour or less, I charge the usual fee. This is a way of giving
the customer who can't afford much my best skills for a reasonable price.
If I raise the pitch 20 cents or more, it will inevitably take 3 passes to
get a really good, stable tuning. If a piano like this also needs other
work, this is the time when I can really make some good profits. I look at
that as an opportunity, not an inconvenience. Doing whatever it takes to get
a common, ordinary piano to sound its best is the way I make my living.
Therefore, I think it is counterproductive to have the kind of mindset that
dwells too much on what I don't want to do and how bad the piano is. I
prefer to think of what my bottom line at the end of the day, week, month and
year will be by doing as much as I can to make the pianos I sevice be their
best.
Regards,
Bill Bremmer RPT
Madison, Wisconsin
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