of The lonious Monk’s right hand single notes; iii) the block chords of George Shearing; iv) the staccato Mj6th chords in the high register of Count Basie, v) the accentuated simultaneous use of both extremities of the piano compass by Duke Ellington; vi) the metric double handed chordal polyrhythms of Erroll Garner and Dave Brubeck; vii) the simultaneous contrast of cantabile melodic tones in the right hand with rhythmic left hand accents by Bill Evans; viii) accentuated double octave unison phrases of Phineas Newborn Junior and Oscar Peterson; ix) the combined use of the sustain pedal and modal chords of parallel 4ths and 5ths at fortissimo by McCoy Tyner. Throughout this stylistic development, there seems to be no evidence of which piano- make was preferred by each of the jazz pianists for their particular styles. As with classical performers, there were many sponsorships of brands, but these business arrangements didn’t necessarily indicate a preference of instrument tone for particular styles of music.

The audience surveys do not set out to claim whether the Stuart piano or the Steinway piano is ‘better’ for jazz style, or as it has just been stated, better for a specific jazz style. Rather the exercise is simply to listen to both instruments in the jazz context, and observe how their tonal dimensions differ and how audiences evaluate the differences.

Concert-survey No 2, presented specific questions about how each piano sound interacted within the jazz ensemble sound.

Qu.9. Which piano sound produces the better ensemble sound?
Response: 64% Stuart piano

Qu.10. Which piano sound produces a clearer tone with the bass & drums?
Response: 77% Stuart piano sound.

Qu.11 Which piano sound is better at projecting its sound over the bass& drums?
Response: 83% Stuart piano sound .