Papp's Mute, part Deux, and MORE!!

[A440 Piano Service]

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Esteemed list,

Thanks for your responses, to the list and privately, to my post re: the =
Papps mute.  It occurred to me that I misspoke when I said I could tune =
two notes at a time with this technique, so I wanted to correct that.  =
Only step E allows for that.  Step B and C allow only one string to be =
tuned.  I guess it just flies by so quickly that it almost seems like =
I'm always tuning two strings!  Sorry 'bout that.=20

Another thing that I failed to mention that increases speed with this =
method is to learn to move the mute with your left hand (if you're a =
right-handed tuner, I guess) WHILE you move the hammer with your right =
hand.  Blazin'!!

On another note, I was asked about the split rubber mute, so I thought =
I'd tell how I use it to tune 3 strings at a time.  Again, this is using =
the "unisons as you go" method, so I usually just use it for pitch =
changes.  (I'm not good enough yet to do the Virgil Smith method on the =
fine tuning... someday!)  I use this as soon as I start tuning 3-string =
unisons, and continue it as long as I can.  Unlike the Papp's mute, this =
method can ALSO be used on grands, and can go all the way up the =
keyboard.

This method was shown to me by Peter Briant, RPT.

Let's start with the lowest 3-string unison:
1.  Place the mute around all three strings, leaving just the center =
string open.  Being right-handed I usually have the handle lying to the =
right, especially on the lower strings.  When the fit gets tight in the =
case or around the struts, I'll lay the handle to the left.  And on the =
occasional hard to mute trio near a strut on a grand, you'll have to =
stand the mute a bit more straight upward to effectively mute the =
(usually) right string.
2.  Tune the center string.  (Let's arbitrarily call this F)
3.  Move the move to the next string (F#) and leave ITS center string =
open.
4.  Tune the first (F) string's left string to center.
5.  Tune the next center string.  (F#)
6.  Move the mute to G .  (Notice, we're ALWAYS surrounding the center =
string of a 3-string unison with the mute.)
7.  Tune F# left to F# center.
8.  Tune F right to F left and F center.
9.  Tune G center.
At this point, you move the mute again (to G#) and continue that =
3-string pattern - now G left, F# right, G# center.

I suppose for extra speed one could learn to change this mute with the =
right hand while the left hand moved the hammer, too, but I haven't =
tried that... it's pretty fast as is!

Hope this helps.  Thank Peter Briant if it does.

John Dorr
Helena, MT
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