Proof "reading" Accu-tunings

[MR ALLAN H DAY]

-- [ From: ALLAN DAY * EMC.Ver #2.10P ] --


-------- REPLY, Original message follows --------

> Date: Wednesday, 31-Jul-96 12:05 PM
>
> From: Jpiesik@arinc.com        \ Internet:    (jpiesik@arinc.com)
> To:   ALLAN DAY                \ PRODIGY:     (XSVM93A)
>
> Subject: Re[2]: Proof "reading" Accu-tunings
>
>     Barbara writes:
>
>     ". . . I never had an artist comment about the tuning.  I found
that
>     they were most concerned with the eveness of voicing and
regulation."
>
>     I must agree.  I have spoken with and listened to several artists
and
>     performers.  I have learned that their major concerns in a
concert
>     situation are, in the following order:
>
>     1.  A well-voiced piano that allows a wide, even, consistent
range of
>         dynamics and color.
>
>     2.  A well-regulated action that responds evenly to the lightest
of
>         touch and a responsive, properly-adjusted pedal system.
>
>     3.  Clean, solid unsions that won't slip out during the
performance.
>
>     4.  A good tuning.
>
>     I'm not suggesting that a well-tuned piano is not important, just
not
>     as important.  All aspects are important as a whole, yet some
take a
>     higher priority.  Any comments?
>
>     Regards,
>
>     John Piesik
>     San Diego Chapter PTG
>     JPIESIK@ARINC.COM
>
>
>

-------- REPLY, End of original message --------
 Dear John,
I find your list of priorities would match what I have found in dealing
with most artists.
 But there are a few exceptions. It is for these that I have had to be
flexible.
   I know those of you who have tuned for George Winston have received
his letter of instruction on how he wants the piano tuned and voiced
for his concerts. He calls for quite extreme stretching in the treble
and bass and gives good instruction on how to achieve it aurally.  That
tuning would be rejected by the other artists I tune for.
  I beleive Winston's New Age music compliments the stretched tuning
(or maybe its the other way around). In any case those artists playing
romantic/classical prefer  more conservative single and double octaves.
  I have two artists that prefer historical temps. and one who only
wants "good" 10ths and 17ths letting the octaves suffer if there's a
choice.
  I relish this variety while catering to the tastes of the educated
ear.
My comments. Thanks, Allan.