What you are is what you hear

[Oorebeek A.]

>I imagine you considered the problem of stability after your discovery.  =
Do
>you think that the warm rich tone could be achieved by gentle tuning, and
>then tested by heavy blows?  Will the warm tone remain after heavy blows?
>(If not, some pianists will destroy it in 10 seconds.) Did you find that
>stability was worse with gentle tuning?
>Is it possible to refine hammer technique enough to compensate for lack of
>heavy blows?

 Dear Susan Kline and list,

After shutting down my computer last night, I thought I had forgotten =
somrthing.
Indeed I should have mentioned that in order to make use of this =
"tone possibillity" one has to be an experienced tuner.
My teacher pointed this out to me, he said that a compromise can be =
made by using maximum "tuning pin technique", meaning; it is not =
(always) necessary to use heavy blows.
Instead, one must have a developped muscle technique, to manipulate =
the tuning pin with as little movement as possible. Turning the pin =
with minimal torque is the answer. Feel and hear a "tic!" while using =
the tuning hammer, try to move the pin to it's destination without =
even touching the key, and then check. It's Zen . A kind "blow" will =
set the string.

>Do you feel that the "hearingprint" is something people are born with, or =
do
>they develop it?  (i.e. -- could they improve it?)  It seems like =
different
>tonal character in different pianos.  The makers of different countries =
and
>eras had different tonal ideals in their minds, and they moved heaven and
>earth to achieve them.

Of course everybody has it's own hearing print! like everybody has =
different fingerprint, that's what made the experiment with 5 people =
tuning the same piano so interesting!

BTW. where does the name Kline come from? (Klein?)

Friendly Greetings from:

CONCERT PIANO SERVICE
Andr=E9 Oorebeek
Amsterdam, the Netherlands
email address: oorebeek@euronet.nl

=89 Where Music is no harm can be =89