Stretch Vs.Temperament, (was Beat Rates)

[Richard Moody]

----- Original Message -----
From: <A440A@AOL.COM>
To: <pianotech@ptg.org>
Sent: Thursday, August 08, 2002 10:06 PM
Subject: Re: Stretch Vs.Temperament, (was Beat Rates)


> Ric writes:
> > If indeed there exists a substantial number of people who
can't
> > hear the difference, I as a piano tuner am willing and able to
> > satisfy their desires and tune for them a very good ET.
>
>  Hmm,  this brings up a question.  If these substantial numbers
of people
> can't hear the difference between a well-temperament and ET,
then, for this  substantial number, the difference between a
sloppy ET and a "very good" one  is purely academic, no?
> Regards,
> Ed Foote

    Nah, I would say purely professional because it is
professional attitude that determines the accuracy and consistency
of tuning.  But it is academic that tuners who find ET difficult
have recourse to the machine so there is are only two reasons for
sloppy ET.

 It doesn't take a well trained ear to hear a "sloppy ET" but
players who do take the time to listen as in testing rarely go
beyond octaves and unisons. Especially unisons because they stand
out in playing.   I played happily for four months away on my
Yamaha
PSR 340 until one day I checked the temperament.  There are two
fifths that can only be mistakes and yes off enough to call it a
sloppy ET.  "Reverb" which by default is always on ameloriates the
situation somewhat, and when played in open chords sounds less
conspicuous and in music you forget all about it.  But now that I
know I do hear it every once in a while and it is starting to bug
me.  Would that more players get put off by bad intervals there
would be twice as many, maybe three times as many tunings for the
profession.

It just goes to show there is a wide range of "tolerance" both
empirically and aesthetically in temperament before things get
objectionable.
For the tuner, the ability to achieve ET is known only by other
tuners.  Yes there are some situations that might "catch up" to
the sloppy tuner but I doubt he would advance that far in the
profession for that to happen.  For example tuning a piano in one
room and a piano  in another and for some reason they are moved
together to be played as a duet.  Or a certain group that wanted
to mix songs from different concerts and in the studio, found the
piano didn't always match.   Renting a piano and playing it with
the one already there. One tuner tuning the piano there and
another tuner for the rental company.  But just try to explain to
the stage manager (who made sure they were both "just tuned" in
that case why both pianos should then be tuned by the same tuner.
>From the recording company that sends tapes from SF to LA they
soon hear which pianos from which studios do or do not match, to
the piano on site (as in movie)does not match well with the piano
in the sound recording studio, there are many opportunities for
the careful and consistent tuner to flourish, or flounder.  In the
end it will be attitude that deals with the floundering
situations.
        ---ric  (the c stands for 'cudda)


to the dressing room where they wonder why the Wurlitizer spinet
does not sound like the pit piano there are situations where the
sloppy ET will get "busted".