<HTML>In a message dated 3/18/02 10:16:05 PM Central Standard Time, joegarrett@earthlink.net (Joseph Garrett) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I whole-heartedly Agree that the current tendency to "stretch", (dang! There's that word again!), tunings to the max. My personal preference is "Narrow" as I can get it and still make everything fit. I have a few clients that absolutely know and prefer this type of tuning. (and, yes they know the difference; don't ask!) I have seen examples of "Concert Tuning Programs" that advocate expanding the hell out of the piano: "so that the pianist can be heard!" Sheesh! I hate that! It offends the hell out of my ears! </BLOCKQUOTE> The latter is the way the octaves were stretched for the Andras Schiff recital I attended recently.  When single note melodies were played, it sounded good but when he played in octaves, you could hear the dissonance.  I agree with maximum stretch for piano concertos and situations where the room has very little echo.  The higher stretch allows the piano to compete with the strings and other instruments which have a natural tendency to push the pitch higher in the higher registers.  It will also help the piano project in a room with poor acoustics.  In these situations, a slight dissonance on the octaves is perceived quite differently in the audience from the way it is when you are right at the piano.  Some techs overdo this, however. I've tried and have been asked to tune octaves all different kinds of ways.  It is even possible to start with a slightly narrow octave in the middle.  The early HT's such as 1/4 Comma Meantone call for the most minimal stretch.  The later temperaments and ET generally call for what is known as "optimum" stretch which is basically what some people have been saying, the best possible compromise.  Even with conservative amounts of stretch, the 7th octave is always a bit sharper than seems theoretically comfortable. I personally prefer balancing the double octave and octave and 5th through about half of the 6th octave, then make the top octave and a half match triple octaves below.  This does not mean you have to start with an overly stretched octave in the midrange but you do have to start making compromises beyond A4 in order to not have dissonant single octaves higher on up.  In the bass, I balance 4ths, 5ths and octaves and test for equal beating intervals where I can.  For the sub and 1st octave, I balance the double octave and double octave 5th to get the most pleasant resonance. Bill Bremmer RPT Madison, Wisconsin <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> </HTML>