Harpsichords at 442 in equal temperament for a "baroque festival" is strange. I had to tune a harpsichord at 441.5 for a touring chamber orchestra from Europe a few years back. Pretty bizarre! On the subject of the whole high pitch phenomenon, regardless of how we feel about it, in terms of tuning stability, extra work, etc., it is a reality we must deal with. Wind players in European orchestras must purchase instruments made for whatever pitch is chosen, and they can't shift the pitch of their instruments enough to be in tune with 440. Clarinets can use varying length barrels with some success, but even that is problematic. If the orchestra musicians playing for the baroque festival are using the same instruments they use for other performances (and it's unlikely to be otherwise), the pitch needs to conform to the instruments. I hate it, but I live with it. Just did a piano at 443 for the Czech Philarmonic Chamber Orchestra a week ago. Then back to 440 a couple days later. The work isn't nearly as hard with an ETD, using the pitch change function. I find two passes within an hour and a half total sufficient to get a piano into virtually concert ready tune (another pass to touch up unisons, preferably later, after sound check or whatever). The first time I had to raise a Steinway D to 442, when I tuned exclusively aurally, it was a horrible experience. After four hours, I still was far from satisfied. Regards, Fred S. Sturm, RPT University of New Mexico In a message dated 11/2/99 10:29:03 AM, Avery Todd writes: > >Hi Fred, > > Some comments: >. >1. The triple _is_ going to be 3 harpsichords, not pianos. >2. Thankfully, the lights in our new building generate negligible > heat on stage. Lucky you! I bet you don't even have enormous loading dock doors right next to the stage to let in those cold winter breezes. Oops, forgot. What cold winter breezes are there in Houston? >3. Believe me, I _am_ counting my blessings (not having to tune for > all this.) :-) > >Avery
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