<div> Ron,<br>
<br>
Could it be that a horizontal surface is so hard to resist?<br>
<br>
Alan Eder<br>
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<div> <br>
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<div> <br>
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-----Original Message-----<br>
From: Ron Nossaman <rnossaman@cox.net><br>
To: Pianotech List <pianotech@ptg.org><br>
Sent: Fri, 17 Aug 2007 7:33 am<br>
Subject: Re: disabling individual noes<br>
<br>
<div id="AOLMsgPart_0_a8c9c88d-e350-4d3d-add3-ca45c9ea13ca" style="margin: 0px; font-family: Tahoma,Verdana,Arial,Sans-Serif; font-size: 12px; color: rgb(0, 0, 0); background-color: rgb(255, 255, 255);">
> and E flat are derived from the Like so many other pieces using original
> tuning systems, although the piece had been performed and even recorded
> previously, some tuning issues had just not yet been worked out with
> previous tuners. To quote the composer from notes he made while we
> sorted through what it is he actually wants, "C19th and 23rd harmonics
> of low A [one of the drone notes] with pure octaves below the top of the
> piano." Also, "Higher (unplayed) pitches are tuned to lower tones (for
> example A 6, 7, 8 are tuned to A 4's or A 5's octave harmonics most are
> at 4 octaves above, some are at 3; high Gs are tuned to their
> corresponding 7th harmonics; pitches below the drone are tuned as
> octaves to the drone." <br>
>
> Does that answer your question? <br>
>
> Alan <br>
<br>
I have a question. Where are all the "compositions" for
prepared cello and violin? I don't recall any instance of
someone hanging bolts, rocks, and coffee cups from the strings
of their Strad to make new sounds, or drilling extra holes in
their oboes. Everyone picks on pianos. <br>
Ron N <br>
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