Or factored out. I think we forget that when we were learning all this it took great effort to hear "through" all the noise and focus our attention where we needed to. At a certain point in our skill development we became able to switch our attention around at will. We can be aware of other things without being distracted from the task at hand. Much like being in a room with multiple conversations, you can only really hear what one person is saying even though you hear everyone else talking. That being said, there is also a sense of whole tone listening that we also develop such as learning to tune unisons "dead". You're not really listening for beats or any particular partials then but rather the general character when one of the two strings disappears and they sound like one. In short we engage in different types of listening depending on what we are trying to accomplish and the circumstances we find ourselves in with different pianos and varying quality or clarity. That is what really defines our particular skill. David Love www.davidlovepianos.com I've never understood the supposed difference. How could anyone aurally tune without listening to everything the creature has to offer? Doesn't it finally come down to "minimum garbage" in too many instances in the *somewhat* less than perfect pianos we battle, and as such, doesn't all the extant garbage need to be factored in to whatever degree we're able and it's willing? Ron N
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