Mike , You are certainly on target with your assessment of the story, as I do not have documentation to back it up only memories of college days and bull sessions with ye old professors. Yet I do believe it possible for the scenario to have taken place. To play hearing a fourth away would possibly be like playing bagpipes, not symphony quality. Joe ---------- > From: Mike Imbler <MIKE-IMBLER@worldnet.att.net> > To: pianotech@ptg.org > Subject: Re: loss of pitch > Date: Friday, July 03, 1998 11:38 PM > > Joe - do you think this story might be apocryphal? If he heard everything > a fourth low, it would seem that he would be able to play fine with others; > it would be in tune, but transposed. > > > Regards, Mike > > ---------- > > From: Joe & Penny Goss <imatunr@primenet.com> > > To: pianotech@ptg.org > > Subject: loss of pitch > > Date: Friday, July 03, 1998 11:01 PM > > > > > > Hi Susan, > > Once heard about a world war 11 refugee who was a cellist. Seems that > > during the war he had both ear drums severally damaged due to the > constant > > bombardment and could not hear well enough to play. The doctors operated > on > > his ears putting skin from the thigh area in place of the damaged drum > > tissue. The operation was a success, he could hear fine. The only problem > > was that he now heard everything a fourth low and could not play with > > anyone. > > Joe > > ---------- > > > From: Susan Kline <skline@proaxis.com> > > > To: pianotech@ptg.org > > > Subject: Breaking Strings and perfect pitch > > > Date: Friday, July 03, 1998 2:06 PM > > > > > > At 05:21 PM 7/3/98 -0300, John Ross wrote: > > > >Hi List, > > > >I haven't heard anyone mention the importance of having the piano up > to > > > >pitch, if a child is taking lessons or if it is being played with > other > > > >instruments. > > > >If I run into a problem with broken strings, I always determine what > the > > > >piano is being used for. In the above two cases I feel it must be > > > >brought up to pitch if at all possible. > > > > > > I might just add that it is particularly crucial if a young child, even > > one > > > not taking lessons, has absolute pitch. Once set at a certain level, it > > > cannot be changed. In our tuning course, one of the students had > perfect > > > pitch, and grew up around a piano that was 1/4 tone flat. I asked if it > > had > > > changed once he heard normal pitch being used. No, he said, he still > > > remembered what he had grown up with. He hummed a note, and said, "this > > is > > > what our piano was like," and then hummed another, 1/4 tone higher, > "and > > > this is standard pitch." He had the two scales coexisting in his mind. > > > While it is a remarkable demonstration of tonal memory and the capacity > > of > > > people to adjust, I doubt he would have chosen to have to do this. > > > > > > It's a remarkable capacity. I knew someone in his mid-sixties with > > perfect > > > pitch, who was having a lot of medical problems. His pitch sense had > > > shifted a semitone low, and it was driving him nuts when he played, > since > > > he had learned a lot of the piano repertory by heart while "hearing" it > a > > > semitone higher. Has anyone else come across someone whose absolute > pitch > > > has shifted? > > > > > > (I hope that this mention of perfect pitch doesn't start another round > in > > > the "it's not _perfect!!!_" discussion. Perfect pitch (absolute pitch) > is > > a > > > term that, like Topsy, "just growed." It means the power to remember > and > > > identify pitches without losing track of them or forgetting them. It > has > > > nothing to do with _exactitude_, which varies a lot with different > people > > > who have absolute pitch. Some string players with perfect pitch whom I > > have > > > known had excellent, exact intonation, and others had a terrible time > > with > > > it. They knew it was F#, or whatever, but not how to place the F# with > > any > > > precision.) > > > > > > >I do > > > >however point out the piano will sound better at the pitch it was > > > >designed for, and eventually it should be brought up. > > > > > > I agree. In fact, today I tuned an 1882 George Steck grand, and moved > it > > > from just below 440 down to 435. The bass in particular sounded much > more > > > comfortable. Rounder, fuller, less edgy. I don't, however, know what > the > > > pitch standard (if there was a single one) was in 1882. Can anyone help > > > with this? What sort of pitch would the people at George Steck have > used > > > when designing this piano? I can only guess that it would probably have > > > been below 440. > > > > > > Does anyone else do this sort of thing, since so many pianos which we > > tune > > > were designed before A440 became standard? I tune them to A440 if they > > look > > > strong and are going to be played with other instruments, but often > tune > > > them to A435 if they are going to be played alone. Sometimes they even > > have > > > a decal on the plate, saying, "Standard pitch: A=435." Partly I do it > > > because I'm interested in how they sound when they are at their > original > > > pitch. > > > > > > Sorry about the endless length. Just unwinding from a very long week > when > > I > > > saw too many pianos. Looking forward to two days to catch up. > > > > > > Susan > > > > > > > > > > > > > > > > > > > > > > > > > > > Susan Kline > > > P.O. Box 1651 > > > Philomath, OR 97370 > > > skline@proaxis.com > > > > > >
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