Aural vs ETD

[Jim Coleman, Sr.]

Aural tuning

In the discussions of Aural Tuning vs ETD tuning, there has never 
been a clear definition as to what good aural tuning is. May I 
suggest that all piano tuning involves compromises which the tuner 
himself must make. This, of course, depends upon the personal 
preferences of the tuner.

There is an old English expression "the proof of the pudding is in 
the eating." I believe it is safe to say that the proof of a 
tuning is in the listening. If we wish to go beyond that, there is 
a huge mountain of data which needs to be amassed.

On a well scaled grand piano (europeans read "wing" or "flugel"), 
if the 4th partial of each note in the midrange area is tuned with 
an ETD, regardless of the amount of stretch, the M3rds WILL BE 
smoothly graduated. The reason for this is that the M3rd interval 
involves the relationship of the 4ths partial of the upper note 
compared to the 5th partial of the lower note. In this area, 4th, 
5th and 6th partials fall in line
fairly well on an exponential curve of inharmonicity of each note. 
On poorly scaled pianos this is not true.
If we are considering precision tuning, then we must be 
considering well scaled pianos, otherwise, all
bets are off.

If one plots the cents deviations of the first 8 partials of a 
note on a graph showing Cents vs Partial Number squared,
the values will fall on a straight line. However, there 
will usually be more deviation in the 1st, 2nd and 3rd partials. 
This is the reason that the SAT III uses the 4th partials as the 
basis for tuning in the midrange. It is also why the M3rds come 
out so well. Next in evenness are the 4ths, and last in evenness
are the 5ths. An Aural tuner may feel that he is improving the 
tuning by making the 5ths more even. This is strictly a matter of 
personal preference. Of course when this is done, it compromises 
the smoothness of the 4ths, M3rds and M6ths. In this writer's 
opinion, this is rather inconsequential on a well scaled piano.
On a poorly scaled piano, you can't have everything balance out 
smoothly anyway.

In aural tuning, the BIG DEAL seems to be the temperament learning 
curve. That is of necessity because that is where they must start
before they can do the other things.

I prefer to teach Unisons only until they are as good as mine.
Then I teach Octave work to the same level.
Finally I teach Temperament work. The SAT III makes this possible 
and it works quite well. By the time one gets to Temperament work, 
the hammer technique is already well developed. This makes learning
temperament quite easy.

Previously I said that the SAT III is a fine tutor. This was 
meant to refer primarily to learning temperament. However, it is 
also a help in learning hammer technique, stability, octaves, and
even unisons. It is a constant reminder of where the "ball park" 
is located. 

In my next response I will discuss octave balancing.

Jim Coleman, Sr.