Fortepiano pitch levels

[Delwin D Fandrich]

----- Original Message -----
From: "Dennis Johnson" <johnsond@stolaf.edu>
To: <caut@ptg.org>
Sent: August 29, 2002 8:22 AM
Subject: Re: Fortepiano pitch levels


>
> Right.   That was my point and I agree.  Unfortunately,  there is limited
call
> for anything other than 440 at an undergraduate school, as others have
pointed
> out.  On the other hand,  everyone knew what we were getting into before
it
> was purchased.  If it is not compatible for certain uses- so be it.  It is
> what it is.  Everyone here gets along very well so I do not see a big
> problem.  I was just wondering how others have dealt with that issue, and
it
> sounds like those who responded seemed to tune at 440.
> I would be very surprised if the department doesn't agree to follow the
> builders recommendation.
>

Oh! I know. And, of course, I was being optimistic, unreasonable,
unrealistic, and facetious. Still, one can always hope that some minimal
level of common sense is yet to be found in academic circles. But, alas, we
expect our musical instruments to do what we want them to do regardless of
what they were intended to do or designed to do or are capable of doing.
Want to entertain 3,500 folks at one time--no problem! Make that piano
'project.' Want to match the fortepiano to whatever modern instrument is to
be played with it? No problem! Tune that sucker up there. Oh, you mean it
might damage the thing? Well, that's what you're here for--fix it! What do
you mean there are limitations to the amount of stress the instrument will
take? WE DON'T WANT ANY LIMITATIONS IMPOSED ON OUR ABILITY TO MAKE OUR MUSIC
AND WE WON'T ACCEPT THEM! Certainly not those imposed by some idiot whose
only contribution to the effort has been to build the instrument.

OK. I'll stop ranting now.

Not knowing all that much about the specific design of this instrument I
can't begin to guess what effect raising the pitch from its design standard
of A=430 to A=440. In all probability nothing will be permanently damaged by
a short excursion up to A=440. Just keep in mind that in general these
things do have some notable structural limitations and I sure wouldn't want
to leave it up there all that long. With a marginal design even a 5%
overload can be a lot.

Somewhere in there you might try reminding them that these issues are among
those that prompted the development of the behemoth we now call the 'modern
piano.' First came the gap-spacers, then the over-bars and, finally, the
full metal plate. And we've never looked back--though it might be wise to do
so once in a while.

I guess I'd go in armed with the builder's written instruction and then,
after they've chosen--in their great and infinite wisdom--to ignore those,
try for a policy of following the performance with a session of bringing it
back down again. As to what all of this will do to the pinblock is another
question. All this up and down stuff can't help but shorten the life of the
instrument.

Good luck,

Del
Delwin D Fandrich
Piano Designer & Builder
Hoquiam, Washington  USA
E.mail:  pianobuilders@olynet.com
Web Site:  www.pianobuilders.com