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#2447876 08/05/15 12:59 PM
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We probably all run into clients that claim not to be able the difference between a piano that is tuned, and one that has never been tuned.

I've run into folks that will play a single note and say "can you hear that - it's not right" ... Which usually starts the conversation down the path to determine: tuning, voicing, other noises???

Today a young girl came over before I tuned and played G-B together in the 6th octave and asked if I could hear that... Her mom told me she hears it on the teacher's piano too, kindof a buzzing?

Tuned it up and called the girl back and did some testing around the area. Seems that she hears the Tartini tones between major thirds up there. http://newt.phys.unsw.edu.au/jw/tartini-temperament.html

I've used them in the past, mostly between 4ths and 5ths in the upper octaves when I was tuning that way... Never really heard any discussions before from other techs. I'm not as sensitive to them anymore now that I'm of a more dignified age ;-)

Ron Koval


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Thanks for this fascinating post, Ron! This is rarely talked about and thanks for bringing it up. I just went to my piano and was listening to major thirds in the 5th octave and could hear them! With minor thirds I could hear a tone a major 3rd below the lower note. With Major thirds the tone was a 4th below the lower note. With 4ths I could hear a tone a 5th below the lower note, and with 5ths the tone was an octave below the lower note.

It reminds me of how you can walk through your neighborhood for many years and still sometimes notice something that was always there but you've never seen it before!


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As a brass player, I hear them much more and use them for intonation. Violinists, with the instrument right next to their ear, hear it easier. I know it as "difference tones".

Thanks Ron.

Did the girl say she wanted you to get rid of it? "But those M3's are just not in tune. Can't you hear that? You are a bad tuner." - paraphrase of actual conversation.

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interesting link


Quote
Good piano tuners tune the strings in a duplet or triplet to slightly different frequencies. This has three important effects. First, it means that, soon after being struck, the strings are not vibrating in phase: while one string is going down, its neighbours in the triplet are going up. This reduces the vibrational force on the bridge, which in turn means that the strings lose their energy less quickly. This gives the piano its long sustain after-sound. Second, the slight differences give the sound an interesting liveliness, somewhat like the chorus effect that distinguishes the sound of a violin section from that of one violin. Third, it makes it impossible to distinguish Tartini tones, and reduces the unpleasantness of impure intervals.


I never realised this, I thought the unisons were tuned as dead on as possible.


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Uh-oh. Here we go again.

(Sorry. Nothing derisive. We've just had numerous threads about whether unisons should be tuned dead flat, I mean beatless, or like the quote suggests. Not that I can do either ;-)

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Originally Posted by Mark Cerisano, RPT
As a brass player, I hear them much more and use them for intonation. Violinists, with the instrument right next to their ear, hear it easier. I know it as "difference tones".

Thanks Ron.

Did the girl say she wanted you to get rid of it? "But those M3's are just not in tune. Can't you hear that? You are a bad tuner." - paraphrase of actual conversation.


No, she just heard what she described as a "buzzing" - lower than the notes...

I did have "the talk" with a band director once that was working with the brass players and couldn't figure out why I wouldn't just make all the 5ths and M3rds pure... help

Ron Koval


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>Uh-oh. Here we go again.

Sorry for that, I did not see those discussions.


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Originally Posted by Mark Cerisano, RPT
Uh-oh. Here we go again.

(Sorry. Nothing derisive. We've just had numerous threads about whether unisons should be tuned dead flat, I mean beatless, or like the quote suggests. Not that I can do either ;-)


AGain our scientific mind confuse beats and frequencies, Marc ...


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