Pianotech

  • 1.  "I'm advised that unequal temperament isn't suitable for 20th century music" . . . . The audience decides.

    Posted 03-03-2025 18:43

    Dear Colleagues

    The "I am advised that . . . . " is often the sort of response among the uninitiated. Advised by whom? And with what experience? 

    Most pianists don't even know that unequal tuning is an option nor what they can do with it. It shouldn't be technicians who deny the option to pianists. Many pianists simply consider a piano to be a piano - and that's it. But it's so much more. If you're Beethoven, it's a reduction of the orchestra itself.

    At the weekend at Hammerwood a young performer put the 1885 Bechstein through its paces with

    Bach Gubaidulina Rachmaninov Gershwin in unequal temperament

    YouTube remove preview
    Bach Gubaidulina Rachmaninov Gershwin in unequal temperament
    Concert at Hammerwood Park in unequal temperament 00:00 Introduction 02:11 JS Bach - Partita No.4 21:44 Sofia Gubaidulina - Chaconne 33:33 Rachmaninov - Sonata No.2 55:42 Gershwin arranged by Earl Wilde - Embraceable You
    View this on YouTube >

    Is the prejudice against unequal temperament that you can hear, opening up keys to rooms of different sound, really justified?

    Certainly the audience was blown away, as they are time after time when I tune. Ultimately it's the audience who are the customers . . . and the piano industry can profit greatly from what attracts more customers.

    At 40:38 Bach Gubaidulina Rachmaninov Gershwin in unequal temperament

     is a modulation that's really shocking. And wonderful? It certainly wakes up the audience and makes the music more interesting. One sits up and takes notice.

    Elsewhere someone commented that it was a pity about the unisons. Please remember that this isn't a Steinway, far from it - an is a 140 year old instrument with Bechstein fuzzy falseness, and on which the repertoire had been practiced during the day before the concert without touching up, difficulties with a few jumpy and looser than I'd like pins, and a change of temperature.

    Tim Foster and a handful of other friends have been experimenting with my tuning philosophy and finding similar experiences.

    For anyone interested for anyone with access to the UK PTA News, in the current issue I've written about the quest for Bach's tuning in the light of pre-1870s instruments and from which we can find pointers to unequal temperament characteristics that we can seek in producing a good universal non-equal tuning.

    Hope you might enjoy the concert.

    Best wishes

    David P



    ------------------------------
    David Pinnegar BSc ARCS
    Hammerwood Park, East Grinstead, Sussex, UK
    +44 1342 850594
    "High Definition" Tuning
    ------------------------------


  • 2.  RE: "I'm advised that unequal temperament isn't suitable for 20th century music" . . . . The audience decides.

    Registered Piano Technician
    Posted 03-04-2025 11:21
    Thanks for this and all your contributions to this group.
    This is especially helpful as I care for pianos at a university where the piano professor is also interested in and champions unequal temperaments.
    Nancy Salmon, RPT





  • 3.  RE: "I'm advised that unequal temperament isn't suitable for 20th century music" . . . . The audience decides.

    Posted 03-05-2025 09:51
    Whilst writing to a friend it was apparent that the reference for the shocking modulation in the original post is wrong - it's around 48:38 https://youtu.be/Bf_ZqCb-wms?t=2919 and personally going to this recording I'm finding the whole of the slow movements entrancing.

    I hope that perhaps others might find it so. We're lulled into tonalities and then shaken out of them - and those really are the places to which keys should musically unlock.

    In transcribing from the tape there is one wonky moment on the sound caused by uneven rewinding of the spool on fast wind before beginning the transcription and clearly the position slipped in passing the heads. If anyone's interested in a perfect transcription I'll do it again. Incidentally when recording on tape I've taken to recording a 1 minute 440hz reference at the beginning so that this can then be adjusted on playback on a variable speed machine. Taking care of this on this concert recording is why sync with the video is unusually good. I normally just rely on the speed being the same on the same machine immediately after the concert but the speed can vary by 0.5% after it's warmed up.

    Best wishes

    David P


    --
    - - - - - - - - - - - - - - - - - - - - - - - -
    David Pinnegar, B.Sc., A.R.C.S.
    - - - - - - - - - - - - - - - - - - - - - - - -
    +44 1342 850594