>It's a wonderful mysterious world. A friend of mine, now gone, also a >student of Bill Garlick's, described it as meditation. Hi, Bill. Bill Garlick is a hero of mine; the 2 weeks I spent with him at the Steinway factory in '83, especially the late night, unofficial sessions back at the factory, were life-changing for me. The precision and intuition with which he approached the work; his insistence on living an artistic, culturally rich life as almost a prerequisite for doing fine piano work; his pleasure in using his body as a feedback loop; his deep, innate respect for people; his trust in his own, individual way of doing things; his absolute trust in his own ears -----became the basis for my successful career. I'd love to have a long talk with you about aural tuning; it's my first and greatest love in this craft. I feel I've elevated my skills to a world-class level by using dead-simple methods: basically allowing all the fourths on the piano to beat (depending on the piano & its inharmonicities & scale design) slowly, between .5 and 2.0 bps---the same across the entire scale, listening to the whole tone. The aim of my tuning is beauty----evenness and key color, a deep, deep bass, and the same bloom in the struck note that I hear in the plucked note. My ideal is the great pianos I heard on record when I was a child----all tuned by aural tuners using the "one mute, one fork, and one tuning hammer" method. Coming to Dallas? Let's hook up. I truly enjoy your posts. David Andersen
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