Holdings: Theory and practice of piano tuning

Theory and practice of piano tuning: a manual on the art, techniques and theory

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Bibliographic Details
Main Author:	Capleton, Brian (Author)
Format:	Book
Language:	English
Published:	West Malvern, UK Amarilli 2007
Subjects:	Piano / Tuning / Handbooks, manuals, etc Piano > Tuning > Handbooks, manuals, etc Klavierstimmung Temperatur > Musik Einführung
Online Access:	Inhaltsverzeichnis
Item Description:	Includes bibliographical references (p. 623-626)
Physical Description:	626 S. graph. Darst. 25 cm

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adam_text	Contents Acknowledgments 1 5 Piano tuning and this book 1 7 PART I - BACKGROUND THEORY 21 Chapter I - The invisible art and science 23 The tempered clavier 26 Talent 28 The art and science - qualities and properties 29 The traditional theory ЗІ Technology - ETDs 32 The need for piano tuning 34 Time to learn 36 The importance of theory and technique 36 Chapter 2 - The essential ideas 39 Note numbering 39 Note naming 41 Construction terminology 41 Upright piano 42 Grand piano 44 Top stringing, backstringing and speaking length 44 Piano scaling 45 The breaks 47 Essential terminology - tools 47 Piano tuning - from the top down 48 Beat rates 57 For students of tuning 58 Training in tuning 59 Equal temperament 59 Harmonics, partials, inharmonicity, falseness 60 Use of the tuning lever 6 1 Pitch raising 63 Chapter 3 - Sound 65 Why study the science of sound? 65 Sound waves 66 Pure tones 69 The Principle of Superposition 70 Simple Harmonic Motion 72 Vibrations are just bounded motion 73 Superposition of vibrations - normal modes 74 Periodic and aperiodic vibrations 74 Frequency and cycle 75 The fundamental 76 Wavelength, velocity, and amplitude 76 Decay 78 Frequency and pitch 8 Perfect pitch 82 Phase 83 Mixing sinusoids to produce beats 87 Mixed pure tones, beats and difference tones 88 Pure tones as essential ingredients of the sound recipe 89 Pure tone frequency and perceived pitch 9 1 Audible Partiak 92 Chapter 4 - Temperament Theory 95 What is a musical temperament? 95 Temperament theory versus tuning theory 96 Some practical basics 97 Tempering is not the art of piano tuning 99 The approach we need 100 The psychological idea of musical interval size 1 00 The idea of wide and narrow 102 Tuning historical temperaments 103 Harmonic ratios 1 04 Historical context 107 Pythagoras and the music of the spheres 1 08 The harmonic series 1 10 Normal modes 11 2 Harmonic tuning theory 11 2 Demonstrating harmonics on the piano 1 14 The chord of nature 115 Coinciding harmonics 11 6 Why coinciding harmonics are important 11 9 Just Intonation 122 Cents 122 The Pythagorean or ditonic comma 1 23 Equal Temperament 1 28 The syntonic comma (aka the comma of Didymus) 1 29 The Temperament Circle 1 3 1 Pythagorean tuning 1 34 Combining the Pythagorean and syntonic commas 1 34 Interpreting the Temperament Circle 1 35 Equal Temperament 1 36 The complete Temperament Circle 1 38 Temperament classification 1 39 The mean tone temperaments 1 39 The well temperaments 143 Valotti temperament 144 Tuning equal temperament 145 Temperament generalisation 146 Chapter 5 - Traditional piano tuning theory and elementary practice 1 49 The idea versus the reality 1 49 The traditional acoustical model 1 50 Interval ratios and beat rates 153 The equally tempered semitone 1 54 The rule for finding coinciding harmonics 1 56 Calculating the beat rate 1 58 Revision 1 58 Worked example 1 59 General beat rate computation for harmonic notes 1 6 1 Beat rate relationships 1 63 Beat Rate Table 1 64 Major thirds - major sixths 1 65 Fourth - fifth - octave 1 65 Minor third - major sixth 1 66 Compound major thirds 1 66 Beat pitch relationships 1 67 Elementary practical tuning procedure for the scale 1 67 RNC scale sequence 1 69 The real scale tuning situation 1 7 1 Tuning the octaves 1 72 The real octave tuning situation 173 The physical situation in the real piano 1 74 Practical tuning summary 1 75 Chapter 6 - The soundscape, spectrum and tone 1 77 The transient 181 Changing tone - movement 1 8 1 Piano tone partials - revision of essential facts 182 Harmonics 182 Partials 183 The musical pitch arrangement of piano tone partials 1 84 Hearing partials and beats 1 86 The 3-D spectrum of partials 187 Intervals 1 92 Adjustable partials 1 93 Finding adjustable partials 1 94 Proportions of the spectrum that are adjustable 1 97 The partials of the perfect fifth 200 Chapter 7 - Partial decay patterns 203 Piano tuning beats are not simple heterodyne beats 205 More than just beat rates 206 Two ways of representing partials 207 Dual decays 2I0 Regular beats * * The single null 2 5 Progression of beat patterns in fine tuning 2 1 7 Summary of beat patterns 2 1 9 Unstable beat rate 221 The significance of decay patterns 22 1 The adjustable partials 221 Falseness 222 Mistunmg and decay patterns 223 The coupling region 224 Behaviour within the coupling region 225 PART 2 - ADVANCED TUNING PRACTICE 227 Chapter 8 - Unison Tuning 229 Listening to specific partials 232 Relationship of unison beat rates 232 First steps - summing up some practical points 233 The seascape analogy 234 Beating in fine tuning 235 Unisons and beat inheritance 236 Two beat species - false beats 237 Visual conceptualisation of falseness in the soundscape 240 Falseness and context 242 Tonal beauty need not be analysed 242 Judgement 243 Some scientific studies of unison tuning 244 Summary of the difficulties in the scientific study 245 Mistunmg - the technical meaning 246 Movement as tuning changes are made 247 How partials are mapped from normal modes 248 Inheritance of false beats 250 Sequence of tuning unison strings where one is false 254 The skill - general beat attenuation 255 False beat attenuation - an overview 256 Eliminating the beat: rate reduction and attenuation 257 A little theory - Weinreich behaviour 260 The coupling region 264 Listening to the whole 265 Unison tone and the vowel or cat in the unison 266 Magnified partial envelope shapes 269 Examples of false beat attenuation 269 Example of the coupling region - effect on beat rate 274 Practical effects of bridge coupling 276 A Steinway trichord 277 The singing quality - single nulls and aftersound 280 Hammer irregularities and tone - the Weinreich model 282 The symmetric and antisymmetric modes 282 Movement in the spectrum - some important points highlighted 284 Adjusting tone through decay rates 285 Unisons in the high treble 288 Falseness in the high treble 289 Unisons in the bass 290 Three string unison groups (trichords) 291 Trichord string tuning sequence 292 Inharmonicity, stringing errors and unisons 295 Utilising unison tuning to fine tune other intervals 295 Tuning Bliithner unisons with aliquot strings 296 Chapter 9 - Tuning the Scale 297 The learning curve 297 The approach 298 The basic principles 300 Beat behaviour 303 False beats 304 Aural scale tuning - background 305 How to ear train and find partials 308 The scale tuning sequence 3 1 2 Fast and slow intervals 3 1 4 Beating partials in the tuning intervals 314 Beat rate relationships 3 1 9 Tuning tempered perfect fifths: harmonic ratio 3:2 321 Beat rates for the fifths 322 Beat patterns in the fifths 323 The actual behaviour of partials in fine tuning the fifth 329 How to tell a wide fifth 334 Plasticity in tuning fifths 335 Practical approach to tuning fifths 336 Inharmonicity mistaken for falseness 338 Tuning tempered perfect fourths: harmonic ratio 4:3 339 Tuning tempered thirds and sixths 341 Judging beat rates for thirds and sixths 348 The generic beat form 349 The dual or phantom beat rate. 350 Tuning the scale - the construction principles 35 1 Beat rate effect 354 Interval quality - coarseness as distinct from beat rate 354 Scale bi¡c 355 Scale plasticity; three note closed box relationships 356 Scale plasticity and interval sensitivity 357 Improving a scale - the advanced approach 359 10 The two error types 360 The psychology of beat rates - judging progression 360 The importance of interval quality 361 Very small pianos 362 Scale sequence - limitations 364 Scale tuning sequence example number I 364 Major thirds progression on a very small instrument: 366 Scale tuning sequence example number 2 367 Generalised scale building principles 368 A complete scale covers an octave and a major sixth. 369 Relationship between the major thirds and the fifths. 369 The position of the scale area 373 The non^ traditional features have consequences 373 Error diagnosis 375 Chapter 10 - Octave tuning 377 The 2:1 fallacy 377 Initial issues 377 Arguments about stretching 379 The essential idea of octave stretching 38 1 Tailored stretching 382 The need to stretch octaves in fine tuning 382 Musical expectations and inharmonicity 383 Octave stretching in rough tuning 383 Octave tuning and the so-called checks 384 The octave s partials and false beating 385 Which of the octave s partials are adjustable? 386 The octave s dependence on unison tuning 387 Tone and intonation 387 Pitch flattening 387 The top octave mistake 389 Pitch versus beating 389 The fine tuning region 390 Tuning octaves by intonation 392 Tone versus intonation of an octave 393 Inharmonicity - relation of single and multiple octaves 394 The octave as a building block 397 Exercise : Finding the fine tuning region 397 Exercise : The naturally beating octave 398 Example analysis 40 1 The case of no falseness - larger stretching 406 The case of no falseness - small stretching 409 Beat amplitudes and rates - tone quality 409 How to address pitch flattening - inharmonicity 4 1 0 The wide beating pitch correction mistake 4 1 2 Inharmonicity and instrument size 414 Beat rate prominence - min 2 1 and dominant sevenths 4 1 4 и Procedure for controlled stretching - beginning 4 1 5 The minor third / major sixth check 4 1 5 The function of the minor third / major sixth relation 416 Continuing down to the break 4 1 7 Continuing down to the bass 417 Tuning upwards from the scale 4 1 8 Caution for the first few octaves 420 Continuation of stretching 420 From lower to higher treble - a summary 423 Tuning major tenths, seventeenths, and triple octaves 424 Bass octaves - first principles 425 Falseness in the bass 425 Pitch and tone in the bass 426 Intonation versus tone in the bass 427 Pitch ambiguity 428 Bass octave reinforcement - the simple difference tone 429 A diversion 429 Tuning the bass first - especially on mini pianos 430 Unusual trebles - high inharmonicity inequality 43 1 The top treble octaves - additional considerations 432 Moving the head - position of listening 433 The musical picture 433 Tuning two or more pianos together 435 Summary of common checks for octaves in the treble 436 Summary of common checks for octaves in the bass 437 Chapter 11 - Setting the Pin 439 A practical overview 440 Theory in detail 447 Basic practical observations 448 Understanding friction - the main characteristics 450 Elasticity - the main characteristics 45 1 Mechanical hysteresis in the string-bridge system - technical description 45 1 Summary of hysteresis 456 Assessing hysteresis 457 Recoil 457 Summary of essential points so far 46 1 The effect of the hammer strike 463 Large hysteresis compared to the elastic range 464 Small hysteresis compared to the elastic range 465 From theory to practice: setting the pin 466 Scenario I : Spring smaller than the travel 468 Scenario 2: Spring greater than the travel 468 Scenario 3: Spring equal to the travel 469 Tuning slowly and smoothly 469 Coaxing 470 The audible soundscape 472 12 Pin position - avoiding recoil 474 Striking and tuning 474 Catching the movement 475 Bridge coupling and hysteresis 475 Differences between bass, mid compass, and treble. 476 Multiple friction points 476 Backstringing and re-setting the string tension 477 Latency 477 Latency in settle 478 Practical guidelines summary 479 Chapter 1 2 - Setting the pitch 48 1 Chapter 13 - Small piano syndrome 485 General approach to tuning very small pianos 489 Seeing ¡nharmonicity changes 49 1 The scale puzzle and the trick of solving it 49 1 Tuning the scale - an example 492 Tuning pianos together 495 Chapter 14 - Hearing 497 Chapter 1 5 - The Kirk Experiment 50 1 PART 3 - ADVANCED THEORY 505 Chapter 16 - The single piano string in one plane 507 The ideal string - general proof of harmonic partials 509 The harmonic spectrum 5 11 The Fourier transform of the ideal string spectrum 5 1 3 The partial spectrum of the real string in one plane 5 1 5 Chapter 1 7 - The Weinreich Model 5 1 9 Two normal modes in one plane - Weinreich s model 520 Effects of an imperfect hammer strike - partial phase difference 522 Effects of an imperfect hammer strike - partial amplitudes 524 Frequency difference between the partials 524 Purely resistive idealised bridge 530 Purely reactive idealised bridge 532 Realistic bridge - both resistive and reactive 533 Decay curves 538 Decay curves for an idealised, purely resistive bridge 540 Decay curves for a realistic bridge, both resistive and reactive 542 Generic decay patterns for two string partial unisons 545 Tuning in practice 547 13 Chapter 18 - Two strings, two planes 549 Degrees of falseness over the compass 554 One string false - hiding falseness 555 Two strings false - the perception of the unison 56 1 Falseness generalised 562 Chapter 1 9 ■ The Trichord 565 Chaotic trichords? 571 Chapter 20 - Further comments on false partials 573 Frequency variation in false partials 573 Falseness and boundary conditions 575 Chapter 2 1 - Inharmonicity 579 General formula for inharmonic beat rates 58 1 Tuning strategy 599 Octaves and inharmonicity 599 Scale tuning sequences 603 Glossary of some key concepts 607 Select bibliography 623
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spelling	Capleton, Brian Verfasser (DE-588)137276524 aut Theory and practice of piano tuning a manual on the art, techniques and theory Brian Capleton West Malvern, UK Amarilli 2007 626 S. graph. Darst. 25 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references (p. 623-626) Piano / Tuning / Handbooks, manuals, etc Piano Tuning Handbooks, manuals, etc Klavierstimmung (DE-588)4164071-8 gnd rswk-swf Temperatur Musik (DE-588)4184689-8 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Klavierstimmung (DE-588)4164071-8 s DE-604 Temperatur Musik (DE-588)4184689-8 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017022712&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
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title	Theory and practice of piano tuning a manual on the art, techniques and theory
title_auth	Theory and practice of piano tuning a manual on the art, techniques and theory
title_exact_search	Theory and practice of piano tuning a manual on the art, techniques and theory
title_full	Theory and practice of piano tuning a manual on the art, techniques and theory Brian Capleton
title_fullStr	Theory and practice of piano tuning a manual on the art, techniques and theory Brian Capleton
title_full_unstemmed	Theory and practice of piano tuning a manual on the art, techniques and theory Brian Capleton
title_short	Theory and practice of piano tuning
title_sort	theory and practice of piano tuning a manual on the art techniques and theory
title_sub	a manual on the art, techniques and theory
topic	Piano / Tuning / Handbooks, manuals, etc Piano Tuning Handbooks, manuals, etc Klavierstimmung (DE-588)4164071-8 gnd Temperatur Musik (DE-588)4184689-8 gnd
topic_facet	Piano / Tuning / Handbooks, manuals, etc Piano Tuning Handbooks, manuals, etc Klavierstimmung Temperatur Musik Einführung
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