Re: [Harp-L] Re: Temperments of other instruments

[IcemanLE@xxxxxxx]

In a message dated 9/16/2007 2:08:06 P.M. Eastern Daylight Time,  
wmharps@xxxxxxxxxxxxxxxxxxxx writes:

Also,  the piano tuner makes choices in tempering the tuning that help 
to  diminish the audible effect of the disonnance, by spreading the  
compromises to intervals that are less likely to be  used. 


The success of the piano tuner is based on his personal philosophy in how  he 
does his work. Tuners that spread the compromises to intervals that are less  
likely to be used are less likely to be called back to tune for serious  
musicians. The idea is to spread the 24 cents amongst 12 intervals - squeezing  
each one 2 cents. This should be done equally.
 
ET is how you set up the temperament of the tuning - it is the basis for  the 
first octave of 12 notes that you set as the standard for the instrument.  
This first octave usually takes place around middle "C" on the piano. I use the  
"F" below middle "C" up to the "F" above middle "C" as my reference. It was 
how  I was taught.
 
Stretching the tuning is a separate entity. You can set up beat less  octaves 
the full range of the piano. The human ear tends to hear the higher  notes as 
being flat when compared to those in the mid range. Stretching the  tuning up 
at the top gives a boost. Some tuners stretch the last octave and a  half to 
ridiculous lengths. 
 
My philosophy was to tune octaves beginning in the upper mid range by  
setting them not as beatless, but as beginning to open up to one slow rolling  beat 
which never completes - the first third or half to "WOW". Carrying this to  
the top end gave me everything I liked as well as everything all my clients  
liked. I was complimented by Ramsey Lewis and Dr. Billy Taylor on my high end  
tuning expertise. I was even asked by Steinway to consider moving to LA and  
take over the tunings of all the "stars" and high profile musicians and a lot of  
studio gigs, as their resident long time best tuner was getting ready to 
retire. 
 
Heading into the bass section, tuners will decide whether they like a solid  
fundamental with vibrating overtones or a smoother sustained sound with a roll 
 to the fundamental. Since you don't usually sustain low octaves and listen 
into  them for long periods of time in actual performance, my philosophy was to 
set  the first overtones beatless and let the fundamental roll slowly. This 
cleared  the air more for the upper overtones to sound smoother.
 
The Iceman



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