pitch raising

[Nichols]

At 08:18 PM 7/15/00 -0500, you wrote:
>I'd like to get some feedback on pitch raising, aural style.
<SNIP>  I'd be most appreciative of the experience of
>others.
>les bartlett

Say there, oh mover (and shaker) of pianos,
	Still sore? Youse guys sure did a super job of shuffling at the
convention. Thanks.

	On pitch raise (aural style)... Lots of good responses. What Ed F. has to
say 

"  It has often been fortunate that I left the expectations this loose,  
sometimes the piano will sit there singing decently for a season, and other 
times it will head for outer space in a month or two.  Preparing the customer 
is the essential part of the job. "

fits best with my experience, with one addendum, from Dean Howell many
years ago...

Bridge roll. Dean was real adamant about that.

 	Individual test blows are great, but listen to the change if  (after the
first stretch) you hold the pedal and play or beat big fat ugly chords
everywhere. Have you ever seen factory beaters? That's the effect. Get the
whole board and both bridges excited for a few minutes between the first
stretch and the second tune, and your stability "should" be better.
Sometimes (depending on season, etc) it's enough for a regular cycle. Lots
of variables, though, so refer back to Ed's comment. Prepare (educate) the
customer to the point of helping them learn a little about what to listen
for (i.e. bass and tenor in different keys) and you'll get a little more
work and a more satisfied customer. That's the goal, no?

Hearing protection, Hearing protection, Hearing protection, Hearing
protection, Hearing protection, Hearing protection, Hearing protection,
Hearing protection, Hearing protection, Hearing protection, Hearing
protection. Oh, by the way.... did I mention HEARING PROTECTION?!?!?

Enjoy,
Thanks again for all your hard work in Arlington,

Guy


PS... you still haven't paid me to NOT post your pictures from the
convention..... <g>



"Reality leaves a lot to the imagination." - John Lennon