Okay, that makes sense for left-handed tuning. What's interesting is that Ron was doing this right-handed! I tried it right-handed as well, being, er, monodextrous. Since the string is pulling the pin counter-clockwise, it may make good sense to be on the "counter" side of the pin. Perhaps it also allows for a more consistent technique when moving from upright to grand, staying on the same side of the pin relatively speaking? -Court On Tue, Sep 15, 2009 at 7:57 PM, David Boyce <David at piano.plus.com> wrote: > I tune left-handed. For uprights I tend to have the lever between 10 > o'clock and 12. depending on height of the piano and other things, I too > sometimes have fingers or the side of my hand resting against the piano top. > > I saw a tuner in a piano shop hold the lever in a curious way, which I don't > think I can easily describe. I will need to take a photo and send! > > Best regards, > > David. > > > "Is Ron Koval here? I noticed on his youtube videos, such as this one, he > uses a hammer position of roughly 10 o'clock for uprights, at least for the > tenor on up. I've tried it since, and can see an advantage using the > fingers against the top of the piano for leverage (with thumb wrapped around > the lever). I was wondering what the thinking was behind this? Is the > leverage against the piano top? I can see where it could be useful to avoid > standing as required by a 12 o'clock position. Or is it a stability trick? > When I tried it, it seemed that I didn't have to put the "twist" back in the > pin as I do when tuning from the 2 o'clock position. But I haven't really > gotten a feel for the technique yet".
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