HT's

[Dick Beaton]

All..
The average piano owner/player doesn't have the foggiest idea what a
tempement is, let alone a HT!  And also, since they only get the thing
tuned once every ten years or so, what difference can it possibly make? HTs
have their place in the world of music, but..
Dick RPT Montana

----------
> From: Michael Jorgensen <Michael.Jorgensen@cmich.edu>
> To: pianotech@ptg.org
> Subject: Re: HT's
> Date: Friday, March 13, 1998 12:30 AM
> 
> Hi John,
>      This logic of yours makes perfect sense.  Even most music played by
> advanced pianists was written during the common practice period prior to
> 1900 which suggests a form of well temperament.  Virtually all classical
> period works were written in keys of four sharps or four flats or less. 
> (I'm sure someone will probably find an exception, please let me know
> what work it is).  This switches around with Chopin and other romantic
> composers along with increased chromaticism.  (With Chopin, the most
> placid works tend to be composed for keys with a high number of sharps
> or flats). This creates a problem in choosing a suitable temperament for
> everything.
> -Mike Jorgensen RPT
> 
> John Woodrow wrote:
> > 
> > List,
> > Just finished my way through "Tuning" by Owen Jorgensen.  What am
> > impressive piece of work, and a credit to the man.
> > 
> > Anyhow, got some loose thoughts on the subject of HT's that I thought
the
> > list may like to critique for me.  I have no strong feeling  to these
ideas
> > so openly welcome any opinion.  I have no scientific facts for any of
these
> > ideas, just impressions.
> > 
> > I know many may think that HT's is a subject that has been done to
death,
> > but I have tried to tackle this issue in my own mind from a different
angle.
> > 
> > PIANOS
> > The upright or vertical piano must make up 80% or more of the pianos in
> > use.  Most of these uprights appear to fall into 2 groups, full size
> > uprights built sometime prior to WWII, and studio size Asian pianos
built
> > in the last 20 years.  Most of the pre WWII group a now getting a bit
run
> > down, and most of the newer Asian group are at best of medium quality.
> > 
> > Simple Conclusion: The vast majority of pianos in use and being tuned
can
> > use all the help they can to sound good.
> > 
> > PIANO PLAYERS
> > The vast majority of piano players would only be of an middle
intermediate
> > level or less.  Little, if any, of their repertoire is in a key
containing
> > more than 3 or more sharps or flats.
> > 
> > Simpler and unscientific conclusion: The vast majority of people NEVER
play
> > in the 'advanced keys'.
> > 
> > OTHER FACTORS
> > Of the number of pianos being played, only a tiny percentage would ever
be
> > played in conjunction with another instrument.  Most musicians have
only
> > the faintest idea if the piano is 'in tune'.  As long as unisons and
> > octaves are OK, they don't care all that much about the rest (OK calm
down,
> > this is only meant to be half serious).
> > 
> > HYPOTHESIS
> > Putting all the above together, the vast majority of the piano market
> > comprises 'ordinary' piano's being played alone in a home situation,
> > playing relatively simple material in the keys of F,C,G,Bb,Eb etc.
> > 
> > So after reading Jorgensesn's work I am left asking myself "what is the
> > best tuning for the average customer" (average defined above).  Will
the
> > improved harmony in the simpler keys in a Victorian or other HT, bring
out
> > the best in what is being played on the average home piano?  Could this
> > really be the right solution for maximizing the musical experience of
the
> > 'average' player?
> > 
> > Look forward to any comments.
> > 
> > Regards,
> > John Woodrow
> > Sydney, Australia
> > 
> > Email:          Woodroj@syvax.email.dupont.com
> > Telephone:      61-2-99236103
> > Fax:            61-2-99236099