This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi Dale! I have just received Klaus Fenner's new book on piano design. He divides = there piano makers into 3 categories, based on the types of scales they = use, and I wanted to check if it is really the way he says and draw my = own conclusions. Below is a short explanation, adapted by myself from = the Greman text, in <Praktisches Handbuch der Klavierkonstruktion> / = Klaus Fenner; Jan Gro=DFbach. - Frankfurt/Main : Bochinsky 2000: =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D Fenner believes that inharmonicity is not something that needs to be = minimised, but should be kept at certain levels which he considers = optimal for a good piano tone. If it is too low, the piano's sound seems = plain, especially in the treble. Human hearing is supposed to ask for a = stretching of the highest 3 octaves of the piano by around 50 cent (a = quarter tone). This can be reached by using scales with a high = inharmonicity, at the upper limit of what is endurable (to one's = hearing). In the best situation, the tone is colourful and gives the = sensation of musical correctness of the pitches. This is considered by = most listeners as optimal. Scale types: 1. Low inharmonicity scales (long and thin strings) Even with increased dynamics, it's hard to achieve an optimal sound due = to the low inharmonicity. This could be compensated for if a lot of = overtones were present in the sound. They don't give the impression of a = strong fortissimo because of the low stretching of the overtones; the = dynamic range seems limited. If voiced rich in overtones (hard hammers), = they are difficult to play pianissimo, if voiced mellow, they lack the = needed power for fortissimo. Examples: Bluethner, Boesendorfer, Fazioli 2. Scales with inharmonicity values higher then average or close to the = upper "limit" With increasing dynamics the adding up of overtones gives the sound = colour, without getting unpleasant. Examples: Grotrian-Steinweg, Yamaha, Steinway 3. Inharmonicity is at the "limit" or above At normal playing volume, the tonal character makes an outstanding = impression. But with increasing dynamics, the stretching of the = overtones gets higher than acceptable to the ear and becomes distorted. = This happens especially when the string termination isn't perfect. = Because one needs to voice the piano mellow to avoid distortion, = powerful fortissimos aren't possible. Examples: Fenner states that such a scale can be found, nowadays, only = in Bechstein pianos. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D So, do you (and everybody else) have scales of pianos mentioned above? What do you think about this theory? Calin Tantareanu ---------------------------------------------------- http://calintantareanu.tripod.com ---------------------------------------------------- ----- Original Message -----=20 From: Erwinspiano@aol.com=20 To: pianotech@ptg.org=20 Sent: Tuesday, January 13, 2004 3:52 AM Subject: Re: Piano stringing scales ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/37/49/70/27/attachment.htm ---------------------- multipart/alternative attachment--
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