This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Wow, What a post andr=E9 !! it is really clear. My teacher who was a Concert Yamaha tech used to compare the coarse = sounding unison as two parallell lines never crossing, going further and = further. I was taught really early (since my 2nd year of apprenticeship) to = control my left hand as much as possible, banging normally, to always = hit the key with the same power, keeping the hand in the same position, = even always pressing the key with the same finger in order to produce = the same tone on every note. That's why I like to put a felt strip on all the medium and treble, make = the temperament, tune octaves, and finally tune the unisons one by one, = concentrating only on the tone. When we tune like that, we can focus = easier than when we tune the octave (muting the left string) and then, = tuning the middle and finally the right string. This way of muting all the piano helped me to get a "rythm" to tune = octaves, and at last the unissons, because we can make a serial work of = octave, and unissons. And concentrate on one thing at a time. BTW,why the 4ths with pure 5ths can drive us nuts? Does it create a = problem to make a properly balanced tuning? Quentin ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/b3/d5/59/ca/attachment.htm ---------------------- multipart/alternative attachment--
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