Hello everyone, I knew that the strings in the treble range are 4 instead of 3, and that the fourth one tuned in unison with the other 3 generates more sympathetic resonance.
Did I understand correctly?
Furthermore, I am trying to deepen my knowledge regarding the characteristics of the string portions beyond the bridge in pianos from the early twentieth century onwards, both of this and other brands, as I am trying to understand in which models that slight distortion/extension due to it prevails, beyond the tuning aura.
One of my former piano teachers has a Bluthner with this system. I have played on it several times. The fourth string of this system is not struck. It is placed above the trichord and vibrates solely by sympathy. I remember that the sound of the Bluthner was very beautiful, melodic, suitable for the Chopin repertoire. If I remember correctly, it is tuned an octave above the note produced by the trichord, to increase the yield of the second harmonic.
Yes, exactly, and it is not struck. However, I don't think it is tuned an octave higher because being the same length and diameter as the other three, logically the tension would be too much and it might risk breaking; perhaps you meant to say that the one an octave above resonates sympathetically through the one being played?
No, but maybe you are right, because I believe all 4 are dampened, so it wouldn't make sense.
Unfortunately, I have never played this piano, but listening to the YouTube videos, I clearly confirm what you said. And they say the keyboard is very light and precise. By feel, I would say that in my opinion these are underrated instruments, even compared to Bechstein; the philosophy seems quite different regarding resonance.
Indeed, I specified that I don't remember well. The logic is obviously for the unison, but I don't know why I remember an octave above.
Honestly, the keyboard wasn't that light; in fact, it felt very sluggish, but from a mechanical standpoint, it was an instrument that had been somewhat neglected. I don't remember any technical interventions regarding the friction measurements on that instrument.
Yes, I modified it also a little while later. I thought that if it is truly tunable an octave above that string (for example, if the tension was greatly reduced by changing thicknesses in the bridge), it's possible they did it in such a way that if you dampen them, they cover all four, and when playing the single note, it still has the sympathetic effect as if the pedal were pressed. That is why perhaps you remembered it this way.
