1105:. The tuning lever is used to turn and 'set' the tuning pins, increasing or decreasing the tension of the string. Mutes are used to silence strings that are not being tuned. While tuning the temperament octave, a felt strip is typically placed within the temperament (middle) section of the piano; it is inserted between each note's trichord, muting its outer two strings so that only the middle string is free to vibrate. A Papps mute performs the same function in an upright piano and is placed through the piano action to mute either the 2 left strings (of a trichord), or the 2 right strings similarly. After the center strings are all tuned (or right if a Papps mute is used) the felt strip can be removed note by note, tuning the outer strings to the center strings. Wedge-shaped mutes are inserted between two strings to mute them, and the Papps mute is commonly used for tuning the high notes in upright pianos because it slides more easily between hammer shanks.
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row and column with that number) in the temperament octave. Slower beat rates can be carefully timed with a metronome, or other such device. For the thirds in the temperament octave, it is difficult to tune so many beats per second, but after setting the temperament and duplicating it one octave below, all of these beat frequencies are present at half the indicated rate in this lower octave, which are excellent for verification that the temperament is correct. One of the easiest tests of equal temperament is to play a succession of major thirds, each one a semitone higher than the last. If equal temperament has been achieved, the beat rate of these thirds should increase evenly in the temperament region.
1073:, affect the tuner's ability to achieve a temperament. Among physical factors are inharmonic effects due to soundboard resonance in the bass strings, poorly manufactured strings, or peculiarities that can cause "false beats" (false because they are unrelated to the manipulation of beats during tuning). The principal psychoacoustic factor is that the human ear tends to perceive the higher notes as being flat when compared to those in the midrange. Stretching the tuning to account for string inharmonicity is often not sufficient to overcome this phenomenon, so piano tuners may stretch the top octave or so of the piano even more.
27:
263:, and when a piano hammer strikes a string it excites multiple harmonics at the same time. The first harmonic (or fundamental frequency) is usually the loudest, and determines the pitch that is perceived. In theory the higher harmonics (also called overtones or partials) vibrate at integer multiples of the fundamental frequency. (e.g. a string with a fundamental frequency of 100 Hz would have overtones at 200 Hz, 300 Hz, 400 Hz, etc.) In reality, the frequencies of the overtones are shifted up slightly, due to
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would double each ascending octave. At the top of the keyboard, then, the theoretically (and ideally) pure fifth would be beating more than eight times per second. Modern western ears easily tolerate fast beating in non-just intervals (seconds and sevenths, thirds and sixths), but not in perfect octaves or fifths. Happily for pianists, the string stretch that accommodates inharmonicity on a concert grand also nearly exactly mitigates the accumulation of dissonance in the perfect fifth.
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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.
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352:, (or commonly a C523.23 tuning fork) to tune a beginning pitch, and then tunes the other notes in the "temperament" using tempered interval relationships. During tuning it is common to assess perfect fifths and fourths, major and minor thirds, and major and minor sixths, often playing the intervals in an ascending or descending pattern to hear whether an even progression of beat rates has been achieved.
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333:, two strings that are close to a simple harmonic ratio such as a perfect fifth beat at higher pitches (at their coincident harmonics), because of the difference in pitch between their coincident harmonics. Where these frequencies can be calculated, a temperament may be tuned aurally by timing the beatings of tempered intervals.
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188:, which were much easier to tune, and which the musicians generally tuned themselves. Early piano tuners were trained and employed in piano factories, and often underwent an apprenticeship of about 5–7 years. Early tuners faced challenges related to a large variety of new and changing pianos and non-standardized pitches.
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A benefit of stretching octaves is the correction of dissonance that equal temperament imparts to the perfect fifth. Without octave stretching, the slow, nearly imperceptible beating of fifths in the temperament region (ranging from little more than one beat every two seconds to about one per second)
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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 beat wildly – especially major 17ths (two octaves + a major 3rd). By necessity the tuner will attempt
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The following table lists theoretical beat frequencies between notes in an equal temperament octave. The top row indicates absolute frequencies of the pitches; usually only A440 is determined from an external reference. Every other number indicates the beat rate between any two tones (which share the
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that was adopted during the early 20th century in response to widely varying standards. Previously the pitch standards had gradually risen from about A415 during the late 18th century and early 19th century to A435 during the late 19th century. Though A440 is generally the standard, some orchestras,
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between the two sound waves. Likewise, if a string tuned to 220 Hz (with a harmonic at 440 Hz) is played together with a string tuned at 442 Hz, the same 2 Hz beat is heard. Because pianos typically have multiple strings for each piano key, these strings must be tuned to the same
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the octaves as one tunes above (and to an extent below) the temperament region. When octaves are stretched, they are not tuned to the lowest coincidental overtone (second partial) of the note below, but instead to a higher overtone (often the 4th partial). This widens all intervals equally, thereby
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gradually stretch and wooden parts compress, causing the piano to go flat, while in older pianos the tuning pins (that hold the strings in tune) can become loose and not hold the piano in tune as well. Frequent and hard playing can also cause a piano to go out of tune. For these reasons, many piano
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In an aural tuning a tuning fork is used to tune the first note (generally A4) of the piano, and then a temperament octave is tuned between F3 and F4 using a variety of intervals and checks, until the tuner is satisfied that all the notes in the octave are correctly tuned. The rest of the piano is
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All western music, but western classical literature in particular, requires this deviation from the theoretical equal temperament because the music is rarely played within a single octave. A pianist constantly plays notes spread over three and four octaves, at least, so it is critical that the mid
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The next table indicates the pitch at which the strongest beating should occur for useful intervals. As described above, when tuning a perfect fifth, for instance, the beating can be heard not at either of the fundamental pitches of the keys played, but rather an octave and fifth (perfect twelfth)
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Electronic piano tuning devices are also commonly used. They are designed to adjust the same tonal complexities that the aural tuner encounters. The devices use sophisticated algorithms to continuously test the harmonic makeup of each string as it is sounded, and apply the derived information to
124:. The sum (blue) of two waves (red, green) is shown as one of the waves increases in frequency. The two waves are initially identical, then the frequency of the green wave is gradually increased by 25%. Constructive and destructive interference results in a beating pattern in the resulting wave.
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overtones of lower registers. Since the stretch of octaves is perceived and not measured, the tuner determines which octave needs more or less octave stretching "by ear". Good tuning requires compromise between tonal brilliance, accurate intonation, and an awareness of gradation of
53:. Fine piano tuning requires an assessment of the vibration interaction among notes, which is different for every piano, thus in practice requiring slightly different pitches from any theoretical standard. Pianos are usually tuned to a modified version of the system called
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The tuning described by the above beating plan provides a good approximation of equal temperament across the range of the temperament octave. If extended further, however, the actual tuning of the instrument becomes increasingly inaccurate because of
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Having established the 12 notes of the chromatic scale, the technician then replicates the temperament throughout the piano by tuning octaves and cross-checking with other intervals, to align each note with others that have already been tuned.
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Piano tuning is done by a wide range of independent piano technicians, piano rebuilders, piano-store technical personnel, and hobbyists. Professional training and certification is available from organizations or guilds, such as the
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above the lower of the two keys, which is the lowest pitch at which their harmonic series overlap. Once the beating can be heard, the tuner must temper the interval either wide or narrow from a tuning that has no beatings.
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in either the strings' core wires or any overwinding used to modify the wire's weight. The overwindings are normally made from a denser, heavier, but less "springy" metal than the steel used for the core. Imperfect
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A common method of tuning the piano begins with tuning all the notes in the "temperament" octave in the lower middle range of the piano, usually F3 to F4. A tuner starts by using an external reference, usually an
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with 3:2, etc.) because the harmonics of these intervals coincide and beat when they are out of tune. (For a perfect fifth, the 3rd harmonic of the lower note coincides with the 2nd harmonic of the top note.)
219:) were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own distinctive character. During the 1800s this variation led to an increase in the use of quasi-
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to swell, stretching the strings and causing the pitch to go sharp, while low humidity has the opposite effect. Changes in temperature can also affect the overall pitch of a piano. In newer pianos the
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sound it produces. This fluctuation in the sound intensity is a result of two (or more) tones of similar frequencies being played together. For example, if a piano string tuned to 440
1327:, pp. 240–244) (During the late 18th century the standard was about a half-step lower than today; there are some orchestras, particularly in Europe, that use a higher pitch standard.)
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If an electronic tuning device is used, the temperament step might be skipped, as it is possible for the tuner to adjust notes directly with the tuning device in any reasonable order.
1290:, p. 240) (Since the 1800s almost all pianos have been tuned in equal temperament, although there is a movement among organists to return to historical non-equal temperaments.
156:(vibrations per second) is played together with a piano string tuned to 442 Hz, the resulting tone beats at a frequency of 2 Hz, due to the constructive and destructive
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274:, is the ratio of their absolute frequencies. The easiest intervals to identify and tune are those where the note frequencies have a simple whole-number ratio (e.g.
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326:, for instance, a fifth would be tempered by narrowing it slightly, achieved by flattening its upper pitch slightly, or raising its lower pitch slightly.
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Tempering an interval causes it to beat. Because the actual tone of a vibrating piano string is not just one pitch, but a complex of tones arranged in a
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took advantage of this breakthrough, with preludes and fugues written for all 24 major and minor keys. However, while unpleasant intervals (such as the
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meaning that such instruments could sound "in tune" in one key, or some keys, but would then have more dissonance in other keys. The development of
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Some common piano tuning tools: From top to bottom: a tuning lever, a felt mute, a rubber mute, a felt temperament strip (left), and a Papps mute.
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is the result of measuring the fundamental frequencies of stretched tunings and plotting their deviations from unstretched equal temperament.
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Piano tuning became a profession around the beginning of the 1800s, as the "pianoforte" became mainstream. Previously musicians owned
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68:(440 Hz), the note A above middle C. For a classical piano and musical theory, the middle C is usually labelled as C
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In all systems of tuning, every pitch may be derived from its relationship to a chosen fixed pitch, which is usually
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necessary to achieve the desired compromise is a complicated determination described theoretically as a function of
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manufacturers recommend that new pianos be tuned four times during the first year and twice a year thereafter.
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through the compass of the instrument. The name of this modification of the width of the scale is called the
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Many factors cause pianos to go out of tune, particularly atmospheric changes. For instance, changes in
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allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous "
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determine its optimal pitch within the context of the entire instrument.
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is the process of adjusting the tension of the strings of an acoustic
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An out-of-tune piano can often be identified by the characteristic "
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deviation of the real partials from the theoretical harmonics
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will affect the pitch of a piano; high humidity causes the
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1404:, Trans. Alexander Ellis, New York: Dover Publications
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A stretched string can vibrate in different modes, or
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deviate slightly from mathematically pure harmonics
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19:"Piano tuner" redirects here. For the novel, see
270:The relationship between two pitches, called an
1203:, Piano Technicians Guild, 1993, archived from
995:maintaining intervallic and tonal consistency.
368:Equal temperament beatings (all figures in Hz)
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1127:Institute of Musical Instrument Technology
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1449:(3rd ed.), Pearson Education Inc
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1422:, Michigan State University Press,
1302:Concert Pitch - a Variable Standard
61:for the theoretical piano tuning.)
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999:and upper range of the treble be
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1178:"Information on Piano Tuning"
843:Beating above the lower pitch
30:A man tuning an upright piano
1471:Procedure For Tuning A Piano
1440:(2nd ed.), Vestal Press
1238:Lutherie Information Website
1069:Other factors, physical and
927:Two octaves and major third
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840:Approximate frequency ratio
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1833:Piano Technicians Guild
1476:History of Piano Tuning
1251:History of Piano Tuning
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240:Overtones and harmonics
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415:
411:
410:
407:
404:
401:
398:
395:
392:
389:
386:
383:
380:
377:
374:
320:just intervals
288:
285:
241:
238:
236:
233:
181:
178:
105:
102:
89:
85:
81:
69:
15:
13:
10:
9:
6:
4:
3:
2:
1920:
1909:
1906:
1904:
1901:
1900:
1898:
1883:
1880:
1879:
1877:
1875:Miscellaneous
1873:
1867:
1864:
1862:
1859:
1858:
1856:
1852:
1844:
1841:
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1839:
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1727:
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1718:
1712:
1709:
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1704:
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1699:
1697:
1694:
1692:
1689:
1688:
1686:
1682:
1676:
1673:
1671:
1668:
1666:
1663:
1661:
1658:
1654:
1651:
1649:
1648:Digital piano
1646:
1645:
1644:
1641:
1639:
1636:
1632:
1631:Theatre organ
1629:
1627:
1624:
1622:
1619:
1617:
1616:Hammond organ
1614:
1613:
1612:
1609:
1607:
1604:
1602:
1599:
1597:
1594:
1592:
1589:
1587:
1584:
1582:
1579:
1577:
1574:
1572:
1569:
1567:
1564:
1562:
1559:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1541:Bowed clavier
1539:
1538:
1536:
1532:
1528:
1524:
1517:
1512:
1510:
1505:
1503:
1498:
1497:
1494:
1488:
1485:
1483:
1480:
1478:Gill Green MA
1477:
1474:
1472:
1469:
1467:
1464:
1462:
1459:
1458:
1454:
1448:
1443:
1439:
1434:
1431:
1429:0-87013-290-3
1425:
1421:
1416:
1413:
1412:0-486-60753-4
1409:
1403:
1398:
1397:
1393:
1386:
1385:Reblitz (1993
1381:
1378:
1374:
1373:Reblitz (1993
1369:
1366:
1362:
1361:Reblitz (1993
1357:
1354:
1350:
1349:Reblitz (1993
1345:
1342:
1338:
1337:Reblitz (1993
1333:
1330:
1326:
1321:
1318:
1314:
1310:
1304:
1303:
1296:
1293:
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1284:
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1277:
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1265:
1260:
1257:
1253:
1252:
1244:
1241:
1237:
1232:
1229:
1225:
1220:
1217:
1207:on 2019-10-20
1206:
1202:
1201:
1194:
1191:
1179:
1173:
1171:
1167:
1163:
1159:
1156:
1151:
1148:
1142:
1138:
1135:
1133:
1132:Pseudo-octave
1130:
1128:
1125:
1123:
1120:
1119:
1115:
1113:
1110:
1106:
1104:
1100:
1096:
1092:
1083:
1076:
1074:
1072:
1067:
1063:
1059:
1057:
1054:elastic. The
1053:
1049:
1045:
1041:
1036:
1032:
1028:
1023:
1021:
1017:
1016:
1011:
1006:
1002:
996:
993:
989:
985:
981:
971:
964:
957:
954:
951:
948:
947:
943:
940:
937:
934:
933:
929:
926:
923:
920:
919:
915:
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909:
906:
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895:
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891:
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884:
881:
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873:
870:
867:
864:
863:
859:
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849:
845:
842:
839:
836:
835:
829:
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808:
806:
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802:
800:
797:
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790:
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762:
760:
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756:
754:
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750:
748:
745:
743:
741:
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734:
732:
730:
728:
726:
724:
722:
719:
717:
715:
712:
711:
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703:
701:
699:
697:
695:
692:
690:
688:
685:
682:
681:
675:
673:
671:
669:
667:
664:
662:
660:
657:
654:
651:
650:
644:
642:
640:
638:
635:
633:
631:
628:
625:
622:
620:
619:
613:
611:
609:
606:
604:
602:
599:
596:
593:
591:
588:
587:
584:
582:
580:
578:
575:
573:
571:
568:
565:
562:
560:
557:
554:
553:
550:
548:
546:
543:
541:
539:
536:
533:
530:
528:
525:
522:
519:
518:
515:
513:
510:
508:
506:
503:
500:
497:
495:
492:
489:
486:
484:
483:
480:
477:
475:
473:
470:
467:
464:
462:
459:
456:
453:
451:
449:
448:
444:
442:
440:
437:
434:
431:
429:
426:
423:
420:
418:
416:
413:
412:
408:
405:
402:
399:
396:
393:
390:
387:
384:
381:
378:
375:
372:
371:
365:
361:
357:
353:
351:
348:
338:
334:
332:
327:
325:
321:
317:
316:
307:
303:
302:David Klavins
286:
284:
281:
280:perfect fifth
277:
273:
268:
266:
265:inharmonicity
262:
255:
251:
246:
239:
234:
232:
229:
224:
222:
218:
217:wolf interval
214:
210:
206:
202:
198:
194:
189:
187:
179:
177:
175:
171:
167:
162:
159:
155:
151:
147:
142:
139:
135:
131:
123:
118:
110:
103:
101:
99:
93:
79:
75:
67:
62:
60:
56:
52:
48:
44:
40:
36:
28:
22:
1837:
1711:Short octave
1591:Harmonichord
1446:
1437:
1419:
1401:
1380:
1368:
1356:
1344:
1332:
1320:
1309:prime number
1301:
1295:
1283:
1271:
1259:
1250:
1248:Gill Green,
1243:
1231:
1219:
1209:, retrieved
1205:the original
1199:
1193:
1182:. Retrieved
1150:
1111:
1107:
1091:tuning lever
1088:
1068:
1064:
1060:
1051:
1030:
1026:
1024:
1014:
1004:
1000:
997:
992:"stretching"
976:
935:Minor third
921:Major third
913:Two octaves
879:Minor sixth
865:Major sixth
826:
821:Minor third
793:Major third
708:Minor sixth
678:Major sixth
616:Fundamental
362:
358:
354:
343:
328:
313:
311:
305:
269:
258:
250:normal modes
225:
190:
186:harpsichords
183:
163:
158:interference
143:
127:
94:
63:
41:so that the
35:Piano tuning
34:
33:
1820:Maintenance
1793:Innovations
1739:Split sharp
1729:Frequencies
1670:Synthesizer
1596:Harpsichord
1534:Instruments
1099:tuning fork
1040:springiness
350:tuning fork
315:temperament
287:Temperament
134:sound board
1897:Categories
1757:Expression
1626:Reed organ
1621:Pipe organ
1586:Fortepiano
1566:Clavichord
1394:References
1211:2012-03-23
1184:2013-05-27
1035:elasticity
1027:stretching
1005:inharmonic
846:Tempering
304:tunes his
146:honky tonk
104:Background
16:Profession
1788:Acoustics
1576:Claviharp
1052:perfectly
1001:stretched
312:The term
306:Una Corda
261:harmonics
254:harmonics
166:frequency
1675:Virginal
1606:Melodica
1551:Carillon
1546:Calliope
1158:Archived
1116:See also
1097:, and a
837:Interval
713:14.1185
686:14.9580
683:10.3824
658:15.8475
655:10.9998
652:1.18243
629:16.7898
626:11.6539
623:1.25274
600:17.7882
597:12.3468
594:1.32724
589:.885824
569:18.8459
566:13.0810
563:1.40616
558:.938498
555:16.4810
537:19.9665
534:13.8588
531:1.48977
526:.994304
523:17.4610
520:11.8722
504:21.1538
501:14.6829
498:1.57836
493:1.05343
490:18.4993
487:12.5781
471:22.4117
468:15.5560
465:1.67221
460:1.11607
457:19.5994
454:13.3261
438:23.7444
435:16.4810
432:1.77165
427:1.18243
424:20.7648
421:14.1185
414:0.00000
409:523.251
406:493.883
403:466.164
400:440.000
397:415.305
394:391.995
391:369.994
388:349.228
385:329.628
382:311.127
379:293.665
376:277.183
373:261.626
272:interval
130:humidity
1803:Aliquot
1767:Sustain
1684:Layouts
1638:Orphica
1556:Celesta
1523:Musical
965:Stretch
955:Unison
949:Unison
944:Narrow
888:Narrow
857:Octave
851:Octave
647:Octave
180:History
174:tension
150:beating
138:strings
122:beating
72:(as in
57:. (See
51:pitches
47:in tune
1843:Wrench
1838:Tuning
1828:Action
1798:Wiring
1749:Pedals
1665:Spinet
1601:Keytar
1426:
1420:Tuning
1410:
1010:timbre
958:Exact
860:Exact
322:". In
276:octave
235:Theory
172:, and
1908:Piano
1808:Cross
1643:Piano
1611:Organ
1561:Chime
1143:Notes
1095:mutes
984:sharp
930:Wide
874:Wide
308:piano
211:" by
148:" or
39:piano
1762:Soft
1721:Keys
1525:and
1424:ISBN
1408:ISBN
952:1:1
938:6:5
924:5:4
910:4:3
896:3:2
882:8:5
868:5:3
854:2:1
347:A440
199:and
170:mass
78:MIDI
66:A440
1101:or
1050:is
772:C♯
720:D♯
636:F♯
576:G♯
511:A♯
252:or
1899::
1169:^
1022:.
798:C
746:D
693:E
665:F
607:G
544:A
478:B
445:C
195:,
154:Hz
88:-C
1515:e
1508:t
1501:v
1414:.
1187:.
1038:"
90:5
86:3
82:3
70:4
23:.
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