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plucking is unnecessary unless the 4th string is way out for some reason. Falseness in any of the other three can still be countered by the 4th. (using the sharp side if any. Yes, I'm have question about this model but sorry rxd I don't understood you: how are tuning it's string? Sharp or deep( flat) comparatively with basic sound?
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plucking is unnecessary unless the 4th string is way out for some reason. Falseness in any of the other three can still be countered by the 4th. (using the sharp side if any. Yes, I'm have question about this model but sorry rxd I don't understood you: how are tuning it's string? Sharp or deep( flat) comparatively with basic sound? Read my last sentence again.
Amanda Reckonwith Concert & Recording tuner-tech, London, England. "in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.
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Plucking : more partials, none damped by the hammer.
It makes a good demo of the IH effect, as in high treble the pitch impression can be clearly different between playing and plucking.
Appreciating acoustical energy is necessary for tuning, IMO it is more precise than beats
Last edited by Olek; 08/30/13 11:57 AM.
Professional of the profession. Foo Foo specialist I wish to add some kind and sensitive phrase but nothing comes to mind.!
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Great, thanks for the response everyone- seems like the consensus is that it won't harm the strings- thank you!
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Not a reasonable amount with a flexible plastic guitar pick.
Yes, this is exactly what I'd be using- a flexible plastic guitar pick- nothing too rigid or anything like that
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Phrygian, refer to it as a plectrum, everyone will be impressed, and grant you full blessing.
haha, awesome, thanks Marty
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Unless you're sitting at the keyboard while plucking, you'll have to devise a way to keep the dampers lifted so the strings will actually sound. Block the sustain pedal down, etc...
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Back to the original question: So, short background: I'm looking for a 7ft grand piano to purchase for both practicing and recording- If you mean to say that you will be going into piano dealerships, pulling out a guitar pick and plucking and strumming strings, you are likely to run into resistance. No matter how many times you tell them that you read on an internet forum that is was OK to do, you will probably be asked to cease and desist. It is considered "non-traditional" use of a piano and even with knowledge and care, damage to the instrument could possibly occur. It is best to do this on your own piano.
JG
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score.
Marty in Minnesota
It's much easier to bash a Steinway than it is to play one.
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score.
Tuner-Technician
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score.
Keith Akins, RPT Piano Technologist USA Distributor for Isaac Cadenza hammers and Profundo Bass Strings Supporting Piano Owners D-I-Y piano tuning and repair editor emeritus of Piano Technicians Journal
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score. ...unless the score you have is 4'33"
JG
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score. ...unless the score you have is 4'33" (Jurgen, I can't hear you!)
Marty in Minnesota
It's much easier to bash a Steinway than it is to play one.
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That score is not for piano, is it?
I heard it on the mouth harp once.
Not that it makes a difference.
Professional of the profession. Foo Foo specialist I wish to add some kind and sensitive phrase but nothing comes to mind.!
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It is my favorite composition to listen to when on 'hold' or in an elevator. It could revolutionize Muzak.
Marty in Minnesota
It's much easier to bash a Steinway than it is to play one.
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score. ...unless the score you have is 4'33" (Jurgen, I can't hear you!) FOUR MINUTES AND THIRTY THREE SECONDS! COUGH, COUGH, TURN PAGE, MORE COUGH...
JG
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Despite the ideas of John Cage being almost 70 years old, there are still composers who think they are at the leading edge who insist on fooling around inside pianos ( some of them attack fine concert instruments without permission) with absolutely no knowledge of the potential damage they can create.
We have a professor of composition who cites some nebulous "studies have shown..." material that no damage is done. They always leave out the fact that those who practice these abusive "arts" wouldn't find the need to do it if they could hear rhe damage they're doing touching strings. It is usually those without finer senses who do it. Fine pianists and technicians can hear it, however.
I now have many faculty on my side against ignorant meddling with things they do not understand. All damage to pianos is now attributed to these meddlers. It makes them unpopular.
I have been recently informed that the next major composition competition specifically excludes any tinkering inside the piano.
I constantly tell contemporary composers that their work doesn't stand a chance of being played in our major concert halls, except on lesser instruments set aside for such use by some halls. It simply isn't allowed on fine instruments. This doesn't bother them. So much for the self esteem of such pianists and composers.
Some of my friends who are orchestral pianists are sometimes asked to work inside the piano. They often come to me for advice. They rarely do precisely what is asked for but will do something close but not damaging. They usually get it past the conductor and always get it past the composer.
Last edited by rxd; 08/31/13 03:32 PM.
Amanda Reckonwith Concert & Recording tuner-tech, London, England. "in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.
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Having said that, I have now been involved with advising and assisting with Cage prepared piano concerts three times. On each occasion, I have selected an instrument that has good resonances but it ready for restringing.
It should be pointed out that the instructions in the preface of one of his volumes of works for prepared piano bear little resemblance to the original work because they were compiled many years after he performed the work himself. They are not precise and show much evidence of being written with little thought.
Fine adjustments have to be made by the performer playing through the work and reverse engineering what might have been Cages intent. This takes hours and, studio time being what it is, I have yet to hear a good commercial recording of any of Cage's prepared piano work.
I must admit to enjoying listening to it when it is well ( and safely) done.
Last edited by rxd; 08/31/13 02:16 PM.
Amanda Reckonwith Concert & Recording tuner-tech, London, England. "in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.
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From what I have read about Cage, his intention may have been that the artists figure it out on their own.
Semipro Tech
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Never, ever, walk into a piano dealership carrying a package of thumb tacks and a John Cage score. ...unless the score you have is 4'33" (Jurgen, I can't hear you!) FOUR MINUTES AND THIRTY THREE SECONDS! COUGH, COUGH, TURN PAGE, MORE COUGH... Cough, cough? Is that a physical exam?
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Piano
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