How To Choose an ETD was ... something else

[Bob Hull]

Marcel, John, David,

I agree with much of what you are saying about the
need for the use of aural tuning methods. Is the
question, "Which method produces the best tunings?" 
or "Which method produces the best tunings for the
most tuners?"  or "Which method teaches you the most?"
 or ....   "What is best for me?"  Of course this has
been discussed heavily for years.

There have been some formal comparison tests in the
past between aural and ETD.  I think it was carried
out by Jim Coleman and Virgil Smith.  Did that reveal
a slight edge for the aural method?  But, that's just
between those two people if so.  

It sounds like David is saying aural is the best and
yet you said the ETD shows the ideal - 
"If the machine is actually used as a teaching
tool---to SHOW somebody visually how close or far they
are from ideal, and let their body note that
info---then  I say what an incredible tool; what an
ear and perception enhancer."  

The combination of aural practice, checking against
ETD and studying good tuning material such as On Pitch
by Rick Baldassin can be a great help.  It's too bad
that so much of our experience is gained "solo"
without the frequent evaluation and input of a
experienced friend or mentor.


For me, I improved my aural tuning skills while using
the SAT II.  I was able to pass the RPT tuning exam
aurally with a score just one point shy of CTE level. 
Maybe I would have done even better if I had done more
aural and less etd during my first couple of years
tuning.  



Bob Hull


> > -----Original Message-----
> > From: pianotech-bounces at ptg.org 
> > [mailto:pianotech-bounces at ptg.org] On Behalf Of
> David Andersen
> > Sent: Sunday, May 21, 2006 1:10 PM
> > To: Pianotech
> > Subject: Re: How To Choose an ETD was ...
> something else
> > 
> > 
> > Folks---note the difference; Don says "if used
> properly,"  Ed 
> > says "who starts relying on" the ubiquitous ETD. 
> And there's 
> > the rub: I believe it's up to the individual, and
> his/her 
> > mentor, the degree to which the student, from the
> beginning, 
> > replaces or augments the function of the ear with
> the machine.  
> > 
> > If the machine is actually used as a teaching
> tool---to SHOW 
> > somebody visually how close or far they are from
> ideal, and 
> > let their body note that info---then  I say what
> an 
> > incredible tool; what an ear and perception
> enhancer.  
> > 
> > If, however, the machine is used as a substitute
> for
> > listening, as something like paint-by-the-numbers,
> where 
> > you're just filling in where you're told to, I
> believe it can 
> > hurt an essential learning function of the
> students' body and 
> > being; further, I think it can---CAN---lead to a
> steady 
> > lessening of the students' ability to truly listen
> with the 
> > whole body in a relaxed way, which, to me, is the
> fundamental 
> > component of doing world-class piano work.
> > 
> > If you're a young (or young at heart) passionate,
> committed 
> > student if piano technology, why wouldn't you want
> to learn 
> > how to use your ears in the most taxing, intimate,
> and 
> > focused way? You would, if you wanted to wring the
> maximum 
> > benefit from your learning.  That's why I believe
> every 
> > serious student of piano technology who wants to
> be a 
> > working, every-day pianotech will be best served
> by learning 
> 
=== message truncated ===



__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com