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<DIV><SPAN class=580420705-21082004><FONT face="MS Sans Serif">To =
match a string
on the piano with an A440 tuning fork or A442 tuning fork takes a little =
more
time than using a $19 pocket guitar tuner and is useful really only for =
a
"test". BUT in reality you never match A440, you only determine =
how far
you are from it and make a decision as the expert, to say, "this is =
close
enough", or " the pitch needs to be raised and I need two =
tunings to
get as good as I can get it. If the pitch needs to be raised =
you must
make an expert guess how far above the pitch you should go. =
</FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"> If the piano is sitting on 439 =
or 441
and the contracts calls for 440, you are in compliance if you tune the
piano to its A4 within this slight =
variance. So
machine tuners adjust the machine, and aural tuners go ahead for the =
touch
up. For some machine tuners 4 cents may look like a =
lot. But
for musicians it is no problem. </FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"> </FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT face="MS Sans Serif">If =
you want to
deliver the best tuning, any pitch raise should be touched up or at =
least
"inspected" 24 hours later to allow for "settling"</FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT face="MS Sans Serif">and =
this is only
the first of a number of considerations before changing the pitch of a
performance instrument. Because to raise to pitch you must go OVER =
pitch
which is a guess because you know the piano will come down---but how
much??? So what is the point of determining with 15 minutes =
of tests
how far off A440 you are with a tuning fork? Just holding it =
in your hand for 30 seconds will change its pitch as the
cheapest electronic pocket tuner will show. So I have =
always
advocated a range of 1 cps below or above the desired pitch is OK =
and the
piano will be in better tune for the performance if tuned within this =
variance
rather than raised or lowered to 5 or .5 cents according to the
machine. </FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"> Lately I have been listening =
to the
fork, putting it down, listening to A4 on the piano and if it sounds =
close
enough, the tests come out closer than you would
expect. For "accurate" pitch raises you do =
need to
know the beat rates as determined by the fork or the reading of =
A4 by
a machine. </FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004></SPAN><SPAN =
class=580420705-21082004><FONT
face="MS Sans Serif"> For concert tunings it is getting to =
the point
where you should see what the electronic tuner says because these =
days most
musicians carry a cheap pocket tuner. In the "good ole days" I bet =
it
was between 438 and 442 before they
complained. </FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"> Of course you can go on and =
on, like
listening to F2 on the piano with the tuning fork in your teeth. and
comparing the rate of F2 and A4 (10th) on the piano. But =
still, if
you have to raise pitch the rate of A4 on the piano it will beat sharp =
with the
fork at first. By how much?? Experience =
is the
best mentor.</FONT></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"></FONT></SPAN> </DIV>
<DIV><SPAN class=580420705-21082004><FONT face="MS Sans =
Serif">Richard
Moody <A
href="http://www.pnotec.com">www.pnotec.com</A> </FONT></SPAN></DI=
V>
<DIV><SPAN class=580420705-21082004></SPAN> </DIV>
<DIV><SPAN class=580420705-21082004>
<P><FONT face=Arial>"By far the best proof is experience".<SPAN
class=580420705-21082004> </SPAN>Sir Francis =
Bacon
(1561-1626); English author and philosopher.</FONT></P></SPAN></DIV>
<DIV><SPAN class=580420705-21082004><FONT
face="MS Sans Serif"></FONT></SPAN> </DIV>
<DIV><SPAN class=580420705-21082004> </SPAN></DIV>
<DIV></DIV>
<DIV><FONT face=Tahoma size=2><FONT face="MS Sans Serif"><FONT
size=3> <SPAN class=580420705-21082004>[]
</SPAN></FONT></FONT>-----Original Message-----<BR><B>From:</B>
pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] <B>On =
Behalf Of
</B>Thomas Cole<BR><B>Sent:</B> Friday, August 20, 2004 11:40 =
PM<BR><B>To:</B>
Pianotech<BR><B>Subject:</B> Re: Tuning with a fork and the Sanderson =
Baldassin
procedure.<BR><BR></DIV></FONT>
<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px =
solid; MARGIN-RIGHT: 0px">You
don't need to count beats or make any calculations, although I did =
find it
useful, at first, to tune a couple of contiguous thirds - for example, =
G2 - B2
and B2 - D#3 which have an approx. 4 beats to 5 beats ratio - to learn =
what
this relationship should sound like.<BR><BR>What makes this method =
work so
well is that you can run a series of three contiguous thirds and =
easily decide
if the middle one sounds more like the lower beat rate or the upper =
beat rate
and adjust accordingly.<BR><BR>Tom Cole<BR><BR>Alan Forsyth wrote:<BR>
<BLOCKQUOTE cite=mid005801c4872f$ea8628d0$baf4193e@Aspire =
type="cite">
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<DIV><STRONG><FONT face=Arial>Isaac =
mentioned;</FONT></STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV>"One of the nicest tricks I learned with the different Us =
methods
is<BR>the 4:5 relation from contiguous thirds. ............"</DIV>
<DIV> </DIV>
<DIV><STRONG><FONT face=Arial>I tried this once long ago but =
was
flummoxed when it came to distinguishing the ratios. How on earth is =
one
supposed to tell aurally whether one beat rate is 25% faster or 20% =
slower
than another beat rate?</FONT></STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><STRONG><FONT
face=Arial>AF</FONT></STRONG></DIV></BLOCKQUOTE></BLOCKQUOTE></BODY></H=
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