Hi Ed, At 09:51 AM 4/12/2006, you wrote: >Avery writes: > ><< Move a few to something like a Young and don't say anything about > >it. Of course, in my position, it would be simple to retune if anyone > >complained. >> > > I sure wish I had some forte pianos up here! I wish you had the Bösendorfer there also! :-D I've had holy hell trying to stabilize it and the upper treble sounds like s***. IMO. But as far as I know right now, everything went well last night. They even ran out of programs because more people came than usual! 260+ as compared to the usual 50-100 people! Avery > I used to use a Young for > introductions, and the rejection rate was >higher than now, since I began with the Moore and Co. or Broadwood tunings. >If the biggest third isn't over 18 cents, the vast majority of pianists don't >notice the piano as being unequal, but, rather, >having increased resonance and >clarity. As I said, the Moore and Co. on a Steinway D is a very "live" >sound, but the subtle shading of the third's >widths is never detected as a pitch >difference from ET. Tuners and musicians listen >to a performance differently, >and the musicians ain't countin' beats. > There is a threshold people have to hearing this type of tuning >dissonance, after which expressiveness becomes >harshness. Optimum tuning for Mozart >can be heavy if used for Ravel, ( >IMHO). Optimum for Ravel will usually be on >the wimp side for Mozart or Bach. I think mellower pianos can carry off >higher degrees of tempering without harshness, and certain audiences' >expectations will affect how the music is felt. > > > >Ed Foote RPT >http://www.uk-piano.org/edfoote/index.html >www.uk-piano.org/edfoote/well_tempered_piano.html >
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