Dear Forum Participants,

I have finally completed the article I began with fragments here on the forum and submitted it to the PTG Journal for publication. I also have a version for general distribution to anyone who is interested. (It generally takes 3 to 4 months from submission date to publication). It covers 5 pages, so it is far too long to post here but anyone may request both it and my previous article on tuning the midrange written in November, 2003 by private e-mail to Billbrpt@aol.com. The new article should be considered as a "prequel" to the first since it essentially covers in depth the tuning of only the first two notes, A4 and A3.

I encourage anyone to write me privately but especially the people who are new at or studying the profession. Even many seasoned piano technicians have never fully understood partials, the effects of inharmonicity and the rapidly beating interval checks used to prove 2:1, 4:2 and 6:3 octaves. All of these are explained in careful detail and summarized at the end. There is also some advice on Bass tuning and some brief explanations about choices which can be made about High Treble tuning. (An in depth article on Octave Tuning is planned for the future). Anyone wishing to have a thorough understanding of these concepts will benefit by reading, studying and having this material for keeps, all free of charge. Even Electronic Tuning Device (ETD) users will benefit and can use an ETD in the Direct Interval mode to verify and prove what the ETD is showing.

ETD users who have been intimidated by the aural tuning requirement to tune the initial A4 pitch and C3-B4 midrange aurally for the PTG RPT Tuning Exam will have the definitive material at hand to use to accomplish that goal.

I welcome all inquiries and comments.

I'll wait to read your article in the Journal, but I have to say that I have appreciated very much your writing about tuning here. The latest short essay, dealing with "types" of octaves was a beautiful piece of work--a wonderful combination of clarity and sophistication.

Most writing about piano tuning is difficult to follow and often confusing and misleading. Thus such writing usually makes learning about tuning even more a problem than it is inherently.

I say this even though some of my preferences (biases) about tuning are often quite different from yours. Your writing is a real gift to those interested in the tuner's art.

Thanks, Bill. I would love to read your writings. Will send you an email.

Bill,
What is your correct email address? I would like a copy of your articles but all three of my emails I sent to you have been returned.

Doug H.

Mike, I sent the article to the Journal editor but have yet to receive even an acknowlegement, let alone acceptance for publication. In any case, it probably wouldn't be until June at the earliest that it would come out. I'd still be glad to send you a copy in the mail. My e-mail address is: Billbrpt@aol.com

Doug, if that address does not work, I wouldn't know what to tell you. I have received numerous requests from other people.

Doug, I did think of something you could do if your e-mails keep getting bounced back to you. Send me your e-mail address in a private message to me through this forum.

Mr Bremmer, I've been lurking here for years, but rarely post. But whenever I see your name, I make sure to read your posts. Even for a french canadian, your writing is always very clear and concise. I will send you a private email so you can send me a copy of your article. You are very kind and generous to share your knowledge. Thank you.

Thank you, accordeur. I don't know if you have sent me an e-mail or not because I have responded to nearly 50 requests already and sent them as quickly as I could. I may have not recognized your e-mail name.

I'll bet you didn't know however that I can read and write in French and would very much enjoy writing to you privately in your own language.

I'd also hope that you could attend the PTG Convention in Kansas City, June 20-24, 2007. There are always a few to severeal French Canadians who attend. I have again been asked to sing the national anthems of both the USA and Canada at the opening ceremony. I know the original French language version by heart and if there are enough of you and your brothers present, your own national hymn will be sung for you in its original language to honor our friends from your part of North America.

Merci beaucoup monsieur Bremmer. Je vous ai envoyé un courriel et j'ai bien reçu votre article. Je vous en enverrai un autre pour que vous puissiez me reconnaitre. J'aimerais bien pouvoir aller à Kansas City, si ce n'est que pour vous entendre chanter. Bonne soirée.

My address is on it's way to you Bill !
Thank you in advance!

Mark