In small pianos the inharmonicity is so extreme that establishing a stretch based on a triple octave makes the single octaves beat noticeably, and the wide, fast beating intervals in the upper treble—especially major 17ths—beat wildly. By necessity the tuner will attempt to limit the stretch. In large pianos like concert grands, less inharmonicity allows for a more complete string stretch without negatively affecting close octaves and other intervals. So while it may be true that the smaller piano receives a greater stretch relative to the fundamental pitch, only the concert grand's octaves can be fully widened so that triple octaves are beatless. This contributes to the response, brilliance and "singing" quality that concert grands offer.