[CAUT] Harpsichord tuning tips/string setting

[Don McKechnie]

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Mike and Fred,

Some years ago I had some one on one instruction from Bill Dowd on 
regulating, tuning and voicing. Bill was of the same opinion as Mike's 
harpsichordist. For the most part, that is how I have tuned ever since. 
It does not always work with certain pins, certain instruments. One just 
has to adjust some times. I believe Bill Garlick was in favor of this 
method as well but he got a good bit of his training from Dowd. BTW, I 
can't see how people can use the gooseneck to tune a harpsichord. :-) 
Bill & Bill were in favor of the T handle as well.

Don

Subject:
Re: [CAUT] Harpsichord tuning tips/string setting
From:
Fred Sturm <fssturm@unm.edu>
Date:
Fri, 2 Dec 2005 14:57:19 -0700

To:
College and University Technicians <caut@ptg.org>


On Dec 2, 2005, at 2:19 PM, central wrote:

>
> Fred and All,
>       A visiting harpsichordist many years ago, (sorry, cant  remember 
> his
> name), observed my piano like pin setting technique on his  
> harpsichord and
> commented, "you must always approach pitch from below."  He said that
> approaching target pitch from above will result in the string going  
> sharp.
> If it is flat just raise to pitch not beyond.  (This is for pin and  
> string
> setting only, not overall pitch raising)  Somehow it seemed counter
> intuitive.  What do you think?
> -Mike Jorgensen


    I dunno, these darned harpsichordists don't know anything <G>. I  
have heard all sorts of things, including people who rail against  ever 
using a gooseneck (I don't see how they can stand a T hammer,  when a 
gooseneck will work - the extra leverage and minute control  make it so 
much easier, as long as you know how to allow for or  incorporate a bit 
of flagpoling - or avoid the effect altogether by  the direction you 
place the hammer). I think it's all in the minutia  of the technique. 
How much attention do you pay to where the pitch  has moved while you 
are putting pressure on the hammer, as opposed to  noticing by feeling 
precisely how much the pin has turned in the  block - ignoring what you 
are hearing? The "natural" tendency of the  amateur is to tie the 
movement of the hammer/pin to what the ear is  hearing. There is no 
question that it is somewhat less intuitive to  arrive at a stable point 
from above as opposed to below. It takes a  different set of feedback 
loops (what you hear, what you feel, how  you react).  I think this is 
the source of that particular "old  wives' tale." It's just harder to 
learn to lower than to raise.
    But in the final analysis, the proof is in the pudding. When you  
think you have it there, if you give the hammer that little jiggle,  and 
the pitch meanders just above and just below, and settles at  right in 
the middle, you've got it. If it doesn't, you try again.  Eventually, 
with persistence, you learn good technique, and from  above or from 
below is irrelevant. If a string is barely sharp, I do  my utmost to 
move the pin just enough to put it exactly where I want  it. I certainly 
don't make sure to overshoot so I can approach from  below.

Regards,
Fred Sturm
University of New Mexico
fssturm@unm.edu

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