(NOTE: This response is intended for the entire list. Please let me know if it goes out only to you, Richard.)
Richard,
You attended my "Shop Help" class at National four years ago. You may recall my referring to the education that my assistants get as a "Combat Apprenticeship." This means that Maintaining the Pianos is our Prime Directive, and the vast majority of what they learn will be in the order presented by the needs of the pianos in our care (i. e., no syllabus or curriculum as such). Yes, this leaves holes in one's training, but as I have bragged about previously, several folks who started out with me have achieved at a very high level in our field.
Although I strongly encourage the development of aural tuning skills (and PTG membership, and becoming an RPT), I do not teach aural tuning of Equal Temperament per se on a regular basis. We do have special sessions on it, as time and interest allow (if they are really interested, and I have the time!). I do teach some aural skill as part of ETD instruction, since I have witnessed what can happen without them (wrong page, wrong octave, wrong note, corrupt tuning file, inappropriate pitch correction functioning, etc.). So even in the course of becoming an ETD tuner (which is the most efficient use of my time, from my employers perspective), tuning unisons by ear and learning to listen to octaves and fifths are essential.
Somewhat ironically, we really dig into the fine points of aural tuning when we have to execute tuning systems other than ET. We tackle these tasks entirely aurally (and often get a different, better result than when we enter the unequal temperament into a gizmo and then press the magic button!). In this context, they learn about coincident partials and the like.
Virtually all of my student assistants at CalArts are music majors, and so are familiar with the language of intervals and partials. Anyone who comes to study with me is required to learn that language. I will tell someone something once, but after that, it is their responsibility to shed with the written sources readily available in our library and online to make sure that they internalized what they need to. I recommend several books, including Dan's, as well as certain videos. I am always available to discuss something they have read, seen or heard about, and still don't understand, but I will not spoon-feed them repeatedly. They know that's the deal.
If they don't understand Levitan's exceedingly well-written text, we can discuss that ideas that elude them, but I do not walk them through it. As you may have gathered, I only teach those who are highly motivated. I am not being paid the premium that would be necessary to hold the hands of those who are not. (Nor would I be particularly interested in doing so, at any price.)
To your greater pursuit, if I understand it correctly... There isn't one book or one approach that is the best to use. It depends on the strengths and weaknesses of both student and teacher, and their chemistry together.
And just for the record, Baldassin's excellent book is also in our library (as is every other text concerning piano technology that I've been able to get my hands on!). I encourage my students to read them all, as I have done over the years.
Alan
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Alan Eder, RPT
Herb Alpert School of Music
California Institute of the Arts
Valencia, CA
661.904.6483
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Original Message:
Sent: 07-25-2019 19:52
From: Richard West
Subject: What are the 2:1, 4:2 and 6:3 octaves? Why are they important?
So, Alan, is Levitan's book the one you use to teach your piano technician students/interns?
And Fred, have you used Baldassin's book in teaching?
And to both of you, do you assign parts and then go over that assignment or do you basically tell the student to read the material cover to cover and then go from there? In other words how much of your own time do you spend helping students with the written materials? Can you trust that the student will be able to understand the book without taking your personal time to offer further support?
Original Message------
I second what Daniel has written!
Alan
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Alan Eder, RPT
Herb Alpert School of Music
California Institute of the Arts
Valencia, CA
661.904.6483
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