Aural? (self-starters) muting techniques, etc.

[Paul]

Roger
Sorry for the delayed response, and maybe I've replied to this. I'm trying
to catch up after a few days vacation. Let me know if you did not get a
reply.

Paul Chick
----- Original Message -----
From: Roger C Hayden <rchayden2@juno.com>
To: <pianotech@ptg.org>
Sent: Thursday, October 05, 2000 6:43 AM
Subject: Re: Aural? (self-starters) muting techniques, etc.


> Paul,
>
> Did I understand you pitch raise with the mutes in?  Could you elaborate?
>
> Tanks, Roge
>
> On Sun, 1 Oct 2000 23:40:23 -0500 "Paul" <tunenbww@clear.lakes.com>
> writes:
> > Roger
> > Your technique sounds like mine. I've been working on eliminating a
> > lot of
> > the repetitive motion of mute changing, to increase my time on the
> > tuning
> > lever and keyboard. I've worked out systems for grands, verticals,
> > birdcage
> > actions, oversize capo bars, etc., in most of the pianos I
> > encounter. Floor
> > tunings were the incentive to pick up speed but hold the accuracy.
> > Have you
> > tried pitch raising with all your mutes in? You can do it under 10
> > minutes
> > and come out with surprising accuracy, all done aurally. It goes for
> > pitch
> > lowering too!
> >
> > Paul Chick
> > ----- Original Message -----
> > From: Roger C Hayden <rchayden2@juno.com>
> > To: <pianotech@ptg.org>
> > Sent: Saturday, September 30, 2000 10:50 AM
> > Subject: Re: Aural? (self-starters) muting techniques, etc.
> >
> >
> > > Muting techniques.
> > >
> > > Early in my career I got a job at a college doing a rank of
> > similar
> > > pianos in similar rooms of similar age with similar problems on
> > similar
> > > days.  Grueling boredom!!!  So I bought a stop watch and timed my
> > > operations, trying lots of variations, looking for high
> > efficiency,
> > > without sacrificing quality.  Competition against myself!!   And
> > > everything got interesting.
> > > A couple of work principles here:
> > >
> > > 1.  I learned quickly that the motion connected with rubber mutes
> > was a
> > > great user of time.
> > > 2.  A long job divided into several short ones keeps the psych
> > much
> > > happier.
> > > 3.  Having more opportunity for feedback during the earlier parts
> > of
> > > tuning saves work later.
> > > 4.  Deuteronomy 25:4  Thou shalt not muzzle the ox when he
> > treadeth out
> > > the corn.
> > >   Translation:  I can play this tuning and test it at three
> > different
> > > points, enjoying my work, and checking my progress.  Owners like
> > that
> > > too!!
> > >
> > > I doubt if these techniques are new, and it's a bit hard to put
> > into
> > > words, but here goes.
> > >
> > > For Grands I use four felt strip mutes.  Starting with the triple
> > unisons
> > > I mute between every other note, (every six strings), from left to
> > right
> > > all the way to the top.  When I get next to struts I mute before
> > the last
> > > unison, even if it's out of sequence.  This will use two strips on
> > most
> > > grands.
> > >
> > > Next I start with the double unisons in the bass, calculating
> > quickly
> > > whether there are even or odd number of unisons.  If even, mute
> > between
> > > the first two and every other from the bass up.  If an odd number,
> > mute
> > > between the last single unison and the first double, then between
> > every
> > > other.
> > >
> > > When I've muted the doubles there will be felt left over, so I
> > start
> > > muting between the triple unisons that were not yet muted.  (Every
> > six
> > > strings again)  All the way to the top.  With the unison on each
> > side of
> > > struts I stuff the mute between the strings in the unison itself,
> > leaving
> > > the single string next to the strut singing by itself.
> > >
> > > The whole idea is to strip mute so there remains only one string
> > singing
> > > for each note.  (Except perhaps one note in the bass, the last
> > single
> > > string, and maybe one double in the tenor.)  There are slight
> > variations
> > > in this from piano to piano.
> > >
> > > Then I set my A-440, lay the temperament either from A to A, or F
> > to F,
> > > tune down the single strings to the end of the tenor.  Check my
> > > intervals, especially Major Thirds, check my harmonies, all major
> > chords
> > > inverted where necessary.  Then I improvise and harmonize a little
> > to see
> > > if it 'talks back'.
> > >
> > > Next, its off to the treble, tuning only single strings for each
> > unison,
> > > checking some as I go, but not to the extreme.  (I set the octave,
> > check
> > > it with the fifth and fourth, and move on.)
> > >
> > > Then single strings through the bass.  Again, fifths and fourths
> > as long
> > > as its not muddy, then only fifths, then checking with fifths and
> > tenths,
> > > and at the last, checking with octaves, next fifth and tenth.
> > >
> > > Now its 'performance time'.  I can play this piano, modulate
> > through all
> > > the keys, and if it's good it is soooo clear, these single
> > strings!!  And
> > > far less probability for fighting false beats from lower octaves.
> > >
> > > Next, rip out the felt from the bass doubles, and tune their
> > unisons.
> > > Note this:
> > >
> > > TUNING PIN SEQUENCE. . . very important !!  I start on the first
> > bass pin
> > > that needs tuning, the second string from the tenor strut to the
> > left.  I
> > > tune that unison, THEN, noting the pattern of tuning pins before
> > me, I
> > > take the next pin that matches the first pin in the next pattern
> > of pins.
> > >  In other words, NOT the next string to be tuned chromatically,
> > but the
> > > next pin to be tuned by WHOLE step.  It will be in a STRAIGHT LINE
> > for
> > > the most part going down the bass.  When I reach the last pin in
> > that
> > > straight line I drop to the reverse of the pattern and work back
> > up.  YOU
> > > HAVE TO KEEP YOUR HEAD ABOUT YOU  in this little trick, but it is
> > more
> > > efficient.
> > >
> > > Play again and check a little.
> > >
> > > Then rip out ONE set of strip mutes to the top, leaving the first
> > set in
> > > place.
> > >
> > > This frees two strings to sing in each unison.  TUNING PIN
> > SEQUENCE:
> > > Starting at the first pin of the first triple unison available for
> > > tuning, it should be the left string.  Tune it.  Then by whole
> > step again
> > > to the NEXT PIN IN A STRAIGHT LINE, tune that pin and string.  All
> > the
> > > way to the strut.  You will be playing a whole tone scale on the
> > piano.
> > > At the strut, remember you had tuned the string next to the strut.
> >  So
> > > don't detune it.  tune the middle string here.
> > >
> > > Then it's back to the tenor, and tune the other set of whole steps
> > to the
> > > top.
> > >
> > > Play again and check a little.
> > >
> > > Checking:  I like playing double octaves, starting on C in a major
> > > thirds,  that is C, E, G#, C E G#, etc. then come back, start on
> > C#,
> > > major thirds up,  then D,     then D#.  That hits all the notes,
> > and
> > > seems to keep the ear fresh for hearing bad octaves, and bad
> > unisons.
> > >
> > > Rip out the last set of felts and again tune sequentially in whole
> > steps
> > > the unisons.
> > >
> > > When tuning the unisons your hammer will move in a straight line,
> > not
> > > back and forth.  You will know the pins needing tuning by watching
> > the
> > > tuning pin pattern, not the hammers and strings.
> > >
> > > I find listening to the whole tone scale as I tune much more
> > tolerable
> > > than crawling interminably to the top in half steps.  Also, I have
> > > divided the job more reachable parts.
> > >
> > > which are as follows:
> > >
> > > A-440
> > > Temperament:
> > > Octaves to top:
> > > Octaves to bottom:
> > > Bass unisons, down by whole steps and back up by whole steps:
> > > First Treble unison, to top by whole steps
> > > Second Treble unison . . to top
> > > Third treble unison
> > > Fourth Treble unison.
> > >
> > > The efficiency comes from:
> > > Rubber mutes get used in checking only.  Decrease hand motion.
> > > Strip muting is done in 2 - 2 1/2  minutes, maybe less
> > > The hammer moves in a straight line
> > > The Psyche is messaged, not as strained
> > > The ear stays fresher by less chromatic scaling. . .
> > > You get to enjoy the results sooner and more frequently
> > > Errors are found before the whole job is done
> > >
> > >
> > > On Sat, 30 Sep 2000 00:1
> > >
> > >
> > > 1:29 -0400 "Farrell" <mfarrel2@tampabay.rr.com> writes:
> > > > Would you care to enlighten us on your muting techniques? I am
> > always
> > > > looking for ways to be more efficient, save time, and leave more
> > > > solid
> > > > tunings!
> > > >
> > > > Terry Farrell
> > > > Piano Tuning & Service
> > > > Tampa, Florida
> > > > mfarrel2@tampabay.rr.com
> > > >
> > > >
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> >
>
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