[pianotech] Aurally pure octaves

[Ed Sutton]

Mark-

As I recall you have a 7 foot Schimmel. My experience is that certain pianos, including Schimmel grands, have octaves the just "click" into place. They tune easily as you describe.

I feel that discussions of "sweet spots," "pure octaves" and so on would be much more meaningful if people specified the pianos they are talking about. I can imagine a beginner desperately trying to tune this way on a 1980 Kohler and Campbell console, for example.

Ed S.

  ----- Original Message ----- 
  From: Mark Purney 
  To: pianotech at ptg.org 
  Sent: Tuesday, March 10, 2009 6:04 PM
  Subject: Re: [pianotech] Aurally pure octaves


  I'm a believer in this method, too. When I use the Virgil Smith/Jedi/Musical approach to tuning octaves, it really does make a difference. But instead of "Aurally Pure" octaves, we should probably call them "Aurally Optimized." There is no such thing as pure, because we can't make all the coincident partials line up, like we can with a unison. That "sweet spot" is the place where all the partials of both octave notes align in such a way as to provide the least amount of garbage, where it sounds as pure as it can possibly get. 

  The piano dictates what is best. For example, on a particular octave, maybe the 8:4 partials stick out like a sore thumb if you allow them to beat at all. But instead of tuning the octave to have a pure 8:4 relationship, you may find that it's best to be just a tiny bit off from pure, in order to quiet down the less-dominant 10:5 relationship just enough to get that optimal balance. But the point isn't to analyze this stuff or even think about it, but to feel it intuitively, as a musician, like David says. Maybe this instinct-driven approach isn't for everyone, but it's certainly what feels right to me.

  My favorite way to tune my piano at home: After setting a temperament octave, I tune the rest of the piano by listening exclusively to octaves. No 4ths, 5ths, or any type of aural checks along the way, but simply using "The Force" on those octaves and concentrating on tuning unisons as I go with a pair of felt mutes. It's a fun exercise, I love the result, and if I go back after it's finished with aural checks or an ETD, I find that everything is in it's proper place.



  David Andersen wrote: 


      However, one can still benefit from the concept of listening musically.  Just relax and let the "force" guide you. <G> OK, all kidding aside, if you do relax and listen for the sweet spot, you will hear it eventually.
    Thing is, it's not kidding. There is a sweet spot: that idealized blend of whole tones between two notes, in context with all the other notes, that sounds the best to the musical ear, and to the artist, that the tuner's body/ears/mind knows "instinctively," with repeated, focused practice. Pay full attention when you tune; enter the world of sound, and stay there. It's like a light trance, but completely functional. It's soothing and relaxing. 



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