Teaching.

[Rozan Brown]

Hi, all!  Here are my thoughts on teaching tuning, based on my studies
with Joel Jones at the University of Madison-Wisconsin starting 7 years
ago. I would pretty much go with this order (although almost anything
could work with a great teacher):

> 4.Understanding basic tuning theory
> 2.Hearing Beats

I would kind of like to see the next two taught simultaneously:
> 1.Hammer Technique
> 3.Unisons
.
> 5.Other (please specify)

I think it's very important to have some understanding of what pianos
are (actually everyone in my class already knew how to read music and
play the piano, at least to some degree, so we didn't need to spend too
much time on those real basics).

Joel started with basic piano types, parts, nomenclature, and simple
regulation (using models).  Then, moving on to tuning theory, we learned
all about the physics of strings, partials/overtone series for each
pitch (yes, Conrad, "drilled" into our heads), coincidental harmonics,
beats, Pythagorean comma, and inharmonicity. We also learned about
temperaments at that point, still all theoretical.

I feel very fortunate to have had the use of an electronic "intonation
trainer."  We got a chance to listen to beats and learned to set
intervals and a temperament without yet having to deal with a hammer and
those fussy pins and strings.  Since this was an "Intro to Piano
Technology" class, not geared only to tuning, and no one expected to get
out and start making money immediately, we spent a whole semester on
this, as well as building our own vertical action models, learning the
history of pianos, evaluating pianos new and old (on some basic level),
more about repairing and rebuilding, and reading through Reblitz all the
while.  We were a class of 3 undergrads (studying music or other
subjects), and two of us adult "special students" there to pursue
careers as professionals.

It was not until the next semester, after the summer had passed, that we
actually bought hammers and learned specific hammer/tuning techniques
regarding stance, pin-setting, stability, etc.  Only then did we start
tuning unisons on real pianos (in the School of Music practice rooms and
our own when we dared) and then tuning other intervals and temperaments.
We met as a class weekly for as many semesters as desired (I was in my
seventh when I had to drop out), and I had as much opportunity to work
with Joel individually as I wanted.  Some of us also worked in his shop.
Joel's still there for me now when I have questions (sometimes from a
client's home)!

Certainly, I invested a lot of time before I ever held a hammer, but I
felt well-prepared.  I'm certain this basic sequence would have gone
considerably faster had I been studying with Joel one-on-one from the
beginning and if I'd had the time to invest in training full-time.  In
some ways, I'm glad I got captivated before I experienced all the
frustration that came with just trying to tune a simple unison and keep
it there!  And do it for hours and hours!  Of course, it seems that
hammer technique is probably the main thing about tuning that most us of
keep practicing and refining for years and years and years.  But, my
knowledge of theory is always there supporting every else (as well as my
love for music)!

Oh, and one important thing:  even though I learned all about the many
partials in an interval and different types of octaves, etc., I believe
I was actually trained to tune with more of a whole-sound style (a la
Virgil Smith?), trying to produce a nice singing quality that really
rings (and soars?) and octaves that are nicely stretched.  To this day,
I only tune aurally, so I'm not up on what specific partials I'm tuning
with, only that the primary beats and overall sounds of the intervals
are where they belong and work well for the particular piano.  By the
way, I think I tune a real ET (at least that's what I strive for!).
I've been planning to try Bill's EBVT on my piano as soon as I can
actually get to it (and living in Madison, I've actually had the
opportunity to hang out with Bill and watch him work - he's always been
very generous with his time).

 I was exposed in my training to the SAT and Joel used it to demonstrate
certain aspects of tuning, but I've never tuned a piano with an ETD.
Maybe some day...

A few last thoughts regarding my training... I wish I'd started on
shorter pianos at first (too much time on big tall verticals - 52 or 54
inchers(?) - I seem to have  repressed the specifics on height and
name - great for regulating and hearing beats - but just too tall for
me! - I'm not quite 5'4" and my whole body hurt for a long time - no
grands for quite a long time, either, until I had the nerve to tune a
family member's old Henry Miller grand that could only be better for my
having touched it!)... I wish I'd known to expect just what a long
process learning to tune well is... and, I wish I'd learned to tune with
ear plugs sooner!  By now, I've been earning money as a part-time
professional for about  4 1/2 years (while raising my kids).

Oops, I've gone on longer than I'd planned, but hope this might be of
some interest coming from the perspective of a relatively new student
(also a gal?!?).  Joel, hope I got the details right.  Thanks again to
you!

Thanks to all on this list.  I've been a quiet participant for 4 1/2
years.  I've read virtually everything and continue to learn a
tremendous amount!  Ooh, it's a little unnerving to hit this Send
button!

Rozan Brown
PTG Associate
Madison, WI