Dear Colleagues
It's appropriate to express great thanks to Steven Norsworthy whose {adverbs or adjectives here} caused me to think, research and listen more with the result of putting more refinement into my tuning results. In particular I've come to realise that there's a difference between noting the characteristic of a string and projecting that through the tuning of all strings differs from the characteristics of how coupled strings, as coupled oscillators, behave differently and enable a different tuning of the instrument.
Gratitude is due also to observations of Tim Foster who has grasped the tuning and given encouragement to the use of the strongest of the unequal temperament tunings based upon Kirnberger III as a standard tuning particularly for concerts. His demonstration to the Washington DC Chapter seems to have been unreported and the recording, although only at Zoom quality, makes audible comparison between equal and unequal tuning systems.
Last weekend with a particularly sympathetic pianist was a concert at Hammerwood Park on the 1885 Bechstein where unequal temperament sang. Perhaps you might like the recordings:
Brahms Sonata No 3 Unequal Temperament
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| Brahms Sonata No 3 Unequal Temperament |
| Sonata No. 3 by Brahms played on 1885 Bechstein piano tuned to unequal temperament I. Allegro maestoso: F minor (with sections in Db major and C minor). II. Andante espressivo: Primarily Ab major, with a central section in Db major. III. Scherzo (Allegro energico): F minor, with a Trio in Db major. |
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and CPE Bach
The Brahms and other pieces in the concert were an essay upon the "worst" keys of unequal temperaments but of the most emotionally expressive. Importantly - and most importantly - the audience loved it.
A couple of weeks ago in Greece I tuned for a Beethoven piano concerto with orchestra - using the same strong tuning - and although I'm awaiting the recording, reports of the concert are of great success. This will have been the first concert of Beethoven with orchestra with appropriate tuning.
Why does the sound of the piano in those recordings above hold together? Perhaps
The tuning of pianos in equal and unequal temperaments
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| The tuning of pianos in equal and unequal temperaments |
| Demonstrating why the frequencies of unequally tuned pianos are more harmonious than standard equal temperament. People promoting 432Hz tuning are simply looking at lowering the frequencies of the disturbing beat frequencies of intervals which should be pure but they're mistaken. It's not whether the instrument is tuned to 432Hz or 440Hz that matters but the intervals between the notes. |
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might explain.
Next week at Harrogate at the PTA Convention, Steinway Artist Adolfo Barabino is presenting a seminar "Tuning as part of the music". If any colleagues are in England for 14th May, this will be a rare opportunity to hear music as rarely heard. We can make classical music more interesting again. . . . . It's got to appeal to the heart. It must move us. In listening we have not merely to hear it, but to experience it. I think the performance of the Brahms in the recording above helps us to do so.
Best wishes
David P
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David Pinnegar BSc ARCS
Hammerwood Park, East Grinstead, Sussex, UK
+44 1342 850594
"High Definition" Tuning
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