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<DIV><FONT size=2>I used a somewhat similar "ghosting" method for =
tuning the low
bass (when I was tuning aurally). Hold down C1 and C2 together =
mute, and
strike G3, C4 and E4 with a sharp staccato blow. Tune C1 to find a =
nice
compromise between the 6:3, 8:4 and 10:5 octaves.</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>David Love</FONT></DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=jonpage2001@attbi.com =
href="mailto:jonpage2001@attbi.com">Jon
Page</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> March 19, 2002 3:24 =
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: David Love's =
comments re.
"Stretch"(ugh there's that word 'gin)</DIV>
<DIV><BR></DIV>At 11:41 PM 3/18/2002 -0500, you wrote: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. <BR><BR>A test I use for the =
lowest
half-octave consists of a five note voicing and holding these notes =
with the
sostenuto<BR>and hit the tonic in the bass. I, IV in octave 3; I, III, =
VI in
octave 4. Sometimes substituting a minor third in the right =
hand.<BR>ie: C,G
in oct. 3; C, E, A in oct 4 (sometimes C, Eb, A); hold w/ sos; =
C1<BR><BR>Allow
this to decay and you can hear the partials interacting and fine tune =
the low
octave.<BR><BR>
<DIV>Regards,</DIV><BR>
<DIV>Jon Page, piano technician</DIV>
<DIV>Harwich Port, Cape Cod, Mass.</DIV>
<DIV><A href="mailto:jonpage@attbi.com"
=
EUDORA="AUTOURL">mailto:jonpage@attbi.com</A></DIV>~~~~~~~~~~~~~~~~~~~~=
~~~~~~~~~~~~~~~~~~~~
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