<HTML>In a message dated 3/25/2002 8:51:37 PM Pacific Standard Time, hufford1@airmail.net writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Subj:Re: Another 2 cents on pitch Date:3/25/2002 8:51:37 PM Pacific Standard Time From:<A HREF="mailto:hufford1@airmail.net">hufford1@airmail.net</A> Reply-to:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> To:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> Sent from the Internet             Hi Robin</BLOCKQUOTE>            I've not followed this thread but as I've posted before  I rebellied a stwy 7 ft from 1870s which had a string scale that without a doubt needed A-457 to have enough tension so as to have the speaking voice of a concert sounding piano. I ran some lengths and tension analysis on this scale and at A-457 the tensions were what you'd expect to find in a normal A-440 scale so it is not as if it wasn't designed for it. That being said can you imagine pulling the average A-440 Steinway scale up a half step which is what A-457 is and expect it to live long and prosper without string breakage. I can't, so although I don't doubt for a second what was said to you what possible musical purpose would this have served. Either the orchestra or the piano would have to transpose keys to play together. The only positive outcome would possibly be that the piano would be possibly be louder as it approached its breaking strength and sound great,well at least for a while. It would definately cut throught the Orchestra better don't you think.    Someone for the sake of interest needs to crunch the string scale for a B or a  D boost the pitch level and report back on the percentage of breaking strain to see if simply jerking the pitch up a half step was a feasible option without a completly different string scale.       Just MY two cents worth as well.>>>>>>>>>Dale Erwin <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> David,      I was informed, while at the factory in 1987 and by a person whose judgment I wholly trusted in this, that the pitch used at Steinway at the turn of the century was at two levels.  "Hard" pitch and "soft" pitch. Soft pitch was A-440, hard was A-457.  This person had seen the forks that had been in use at this time.  I was not informed, and did not think to ask, whether this was restricted in application to grands or, whether, it applied to both grands and verticals.  I had the impression that these two levels of pitch  were applied to a piano without any alterations of scaling. Regards, Robin Hufford David Renaud wrote: > What was Steinways pitch in 1901? > >  I ask as I have a 1901 A2. The tonal difference > between a little flat and A440 is very significant > in the top end. I'm wondering if these things really > were indended to be higher pitched, insomuch as they > were built, judged at a higher pitch(?), and > designed, manufactured with this end product in mind. > >                    Dave Renaud > > ></BLOCKQUOTE> </HTML>