Inre tuning in the heat of concert battles, Clyde writes: >>...it appears to me the >>piano technicians need to learn to speak a language that those in charge >can >understand ... I agree, and found out long ago that that language is attitude/time/money. When the last-minute, emergency appointment is made, it is important to let them know first off that you are being asked to perform in a compromised situation, but your price is not. Then cheerfully plug yourself into the scene and do the best that can be managed under the circumstances. They may figure out later that a better venue for your work would allow a better result, but what happens on stage, as the roadies are finishing rolling things out (!), will be remembered more by your attitude than your tuning. An attitude of irritation just mucks up the vibes for the performance and will have more effect on the event than a piano that is not perfect. Traveling musicians and the crew are accustomed to crisis management, they are accustomed to scheduling mishaps compromising the routine. They can usually take that. What strikes them as unprofessional is someone getting bent out of shape, over anything! Keith writes: >It's more than excitement. It's what there is to stretch one's self >in learning what can be done in this trade when absolutely necessary >to fit in with all the other variables that would seem to prevent one >from doing what they deem appropriate and needed. >Being on the hot seat from time to time is a real privilege. Mind >you, I don't necessarily look forward to it when it happens, but when >it does and I receive the call, rising to the task is always a whole >other dimension of living and worth every single moment of the >experience. Oh yes, and it can make memorable times! My worst nightmare was an Elton John concert at the Opry House. The truck had been stuck in a blizzard and arrived two hours before showtime. The piano was approx 20 degrees when it was brought to the stage. Maybe 20 cents sharp and sweating condensation. It was, however, pretty well in tune with itself, all the unisons were ok and the discrepancy between the bridges was expected. I told the stage manager that it would be best to not touch it, just let it come up to temp on its own and play it like it ended up. He would have none of it. I explained the temperature problem, he countered by bringing two of the BIG stage lamps down on the overhead and focussed them right on the open piano,(a high-gloss orange Steinway D, with bright yellow legs and music rack). Then he told me to start tuning! It was part of the contract and he wanted to see A-440 before I did anything else. After an hour, in which I saw that A-440 sink to about 435 while I was zooming through the top end, he came out and said stop, it was time to open the house and Elton never allowed tuning to go on in front of the crowd. I listened to the first two cuts of the show and it was the worst sounding tuning I have ever heard. Nobody ever said a word... Show business isn't always like we like it, but attitude is as important as anything else. It isn't for everybody, but what is? (Dealing with road managers is a lot easier than trying to defuse already tense tuning situations in the coked-up egos in recording studios of the '80's, THAT always required getting mentally ready before going in the door). Regards, Ed Foote RPT
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