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Mike and Fred,<br>
<br>
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.<br>
<br>
Don<br>
<br>
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<div class="headerdisplayname" style="display: inline;">Subject: </div>
Re: [CAUT] Harpsichord tuning tips/string setting</td>
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<div class="headerdisplayname" style="display: inline;">From: </div>
Fred Sturm <a class="moz-txt-link-rfc2396E" href="mailto:fssturm@unm.edu"><fssturm@unm.edu></a></td>
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<div class="headerdisplayname" style="display: inline;">Date: </div>
Fri, 2 Dec 2005 14:57:19 -0700</td>
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<div class="headerdisplayname" style="display: inline;">To: </div>
College and University Technicians <a class="moz-txt-link-rfc2396E" href="mailto:caut@ptg.org"><caut@ptg.org></a></td>
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<br>
On Dec 2, 2005, at 2:19 PM, central wrote:
<br>
<br>
<blockquote type="cite">
<br>
Fred and All,
<br>
A visiting harpsichordist many years ago, (sorry, cant remember
his
<br>
name), observed my piano like pin setting technique on his harpsichord
and
<br>
commented, "you must always approach pitch from below." He said that
<br>
approaching target pitch from above will result in the string going
sharp.
<br>
If it is flat just raise to pitch not beyond. (This is for pin and
string
<br>
setting only, not overall pitch raising) Somehow it seemed counter
<br>
intuitive. What do you think?
<br>
-Mike Jorgensen
<br>
</blockquote>
<br>
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.
<br>
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.
<br>
<br>
Regards,
<br>
Fred Sturm
<br>
University of New Mexico
<br>
<a class="moz-txt-link-abbreviated" href="mailto:fssturm@unm.edu">fssturm@unm.edu</a><br>
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