'C' fork users only (inferior 'A' fork users need not apply)

[Tom Cole]

Phil Bondi wrote:
> 
> 
> Personally, I tune in 2 ET's, depending on the piano. If the piano is a
> poorly scaled spinet (i know..i know) or a small Grand (usually under 5'),
> then I tune in a A-A Temperament as opposed to F-F. Why?..because I feel I
> get a better sounding break area from tuning A-A. Is it measurable?
> Probably, but I have never bothered to measure it. I 'feel' the piano sounds
> better, so if I feel that way, then chances are it does.

Phil,

I've arrived at a similar method, although I no longer tune strictly by
ear. In the smaller pianos (assuming up to pitch), I'll start with the
part of the piano that is above the hockey stick, reverse curve part of
the bridge, where the string scale hasn't yet run up against the
limitations of cabinet size. Yeah, that part. After I've tuned up to C8,
I'll return to the middle of the piano to recheck what I've done and, if
it's good, I'll tune downward across the break, aurally checking with
the "temperament" I've set (with the ETD). The smaller the piano
(roughly), the higher I will start tuning.

I think what you've discovered is that a temperament method is somewhat
inflexible and doesn't easily accommodate anomalies in inharmonicity or
whatever in that transition zone of the lower tenor. Better to transpose
the temperament octave to where you don't have to deal with thirds that
suddenly slow down, etc.

Your post reminds me of a class that Bill Garlick, formerly of Steinway,
used to give at conventions. He would have individuals come up to a
piano and tune one note each, no particular order, and a temperament
would be invented on the spot, all verified with aural checks. What I
learned was that if you are familiar with all the tests, you can vary
your method to suit the situation.

Tom Cole