This course will deal with advanced aural tuning techniques that are required to tune concert-level tunings by ear. I will use the term "concert-level tuning" to describe the level of tuning I am teaching. This level of tuning does not need to be performed only for concerts, but can be used on any piano that is close to being in tune and does not have any voicing problems.
When a good piano is tuned regularily and has this level of tuning done to it, the piano seems to "ring". This is a level of tuning that can be elusive, but with the techniques I show in this course, it is possible to attain.

The techniques presented will deal with the inharmonicity of each piano as a unique consideration. We will not attempt to create quantitative measurements, F3A3 = 7bps, for example. Each piano has its own interval sizes that it needs in order to have the most number of intervals in tune with each other. The only way to set these intervals is to listen to the piano. I will show you many techniques that involve setting intervals and listening to how the piano reacts to those intervals. This creates a feedback loop that allows the particular piano you are tuning, to tell you how to set the intervals.

Some ideas presented will be:

Settling Unisons. When a string is tuned and then the other unisons are tuned to it, the pitch can drop slightly. This is insignificant for a general, good tuning, but must be considered when trying to acheive a concert level tuning. I will show you tests that show that this is not imagined, and techniques to ensure the final unison is in tune.

How to Tune Octaves Beatless. We know scientifically that this is impossible; all the upper partials are never beatless at the same time. But I will show you how to get the octave to sound as though it is beatless.

How to Set a Clean and Even Temperament. When the temperament is clean and even, the upper intervals will ring. If there is any error in the temperament, it will be compounded in the treble and there will be no "ringing" tone. Again, we will use techniques that will allow the piano to tell us how to tune the temperament. For example, 4:5 contiguous thirds are not always 4:5. We let the piano tell us what the ratio should be.

Techniques for Rock Solid Stability. We will talk about what is happening when we turn the tuning pin and discuss techniques that ensure good stabilty even when played by the hardest of players.

Collaboration. I will be looking to you for other great techniques to share with the other students.

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