Piano tuning is the process of harmonizing the sounds of the chromatic scale with each other by an interval quarto-quinta temperament (or tertsovo-sekstovoy) on a family of keyboard-string musical instruments. Currently, the main representatives of this family are the piano - the piano and the piano .
Content
Description
Traditionally, there are 2 basic piano tuning systems - quinto-quart (quarto-quint) and terth-sext, however, the correct tempering is impossible without the use of both systems. But the final emphasis on the quality of the setting must be done on the control of the vibrations of the third and third, as well as on the vibrating sound of like chords, moving in semitones up or down, within the beginning of the formation of temperament, that is, in small and 1 octave. And further to the edges of the range on the same principle.
Usually the starting sound is the first octave , this note is tuned to a 440 Hz tuning fork . In concert halls today, a setting of 442 Hz is applied, sometimes higher. Next, the tuner builds temperament in the so-called “temperament zone” - usually within one octave from “la” small to “la” first octave . Then the built-in system is "replicated" by octaves into the upper and lower registers. The correctness of the setting of the octaves is necessarily checked at other intervals. This is due to the fact that the achievable octave tuning accuracy is the smallest compared to the tuning accuracy of quarts and quint, and especially the third and third. After the beginning of the formation of temperament, the instrument must be adjusted according to the same principle as the very beginning of temperament. Note by note to tune the instrument, as if expanding the zone of formation of temperament in both directions.
The essence of the interval setting process
The essence of the interval adjustment process is the auditory control of the beat frequency between the specific harmonics of the two tones that form the controlled interval.
- Example. To adjust the quint between pe 1 and la 1 tones, it is necessary to control the beats between the third harmonic of pe 1 and the second harmonic la 1 . The calculations, summarized in the appropriate tables or nomograms, show that the tempered fifth ( ) differs from the clean fifth ( ) by 1.96 cents. The required beat frequency for the indicated harmonics, which must be achieved, is −1.00 (that is, exactly one oscillation per second; the minus sign indicates the required narrowing of the tempered fifth with respect to the net). For Quart re 1 - salt 1 , the beat frequency (between the fourth harmonic of re 1 and the third harmonic salt 1 ) is +1.33.
Too fast or, conversely, too slow beats are difficult to control. The practice of tuning shows that the accuracy of the beat counting is satisfactory, with a beat frequency ranging from one beat in 10 seconds to several beats in 1 second. Special electronic metronomes with rhythm indication by light flashes are used. Using such a metronome, you can synchronize the frequency of flashes with beats, and then on the metronome scale, previously calibrated, you can get a count of beats per second. With well-known training and relevant experience, the tuners can control 5, 10, and even 20 beats per second, but in this case you need to know by ear the nature of their sound, that is, the color of the sound, which the corresponding beats give to the interval.
The ability to use the tuner
Currently, among Russian tuners, there are discussions about using a tuner . Opponents believe that tuning with the help of a tuner is not as reliable as modern tuners do not cover the necessary frequency range and are inferior to the human ear. "A trained human ear hears all levels of interval frequencies, which no modern electronics can do." Proponents believe that a clean setup without a tuner is not possible. In favor of the second position is the fact that modern instruments allow to cover the entire range of the piano; Western tuners constantly use tuners in their work; objective quality control of the tuner is only possible using an industrial tuner. [one]
Railsback curves
In 1937, the American scientist O. L. Reylsbek published the results of his instrumental measurements of the accuracy of building a piano [2] . A large number of pianos and pianos, including those belonging to the premium class, tuned by highly skilled tuners, O. L. Reilsbek experienced immediately after tuning. Processing these results allowed us to build the so-called. Reylsbek curves , which are measured deviations of the fundamental tones of a tuned instrument from a uniform temperament . As a rule, the deviations increase towards the edges of the range in the direction of expanding the intervals, that is, the treble increases, and the bass decreases. In terms of an octave, this extension ranges from 0 to ± 6 cents in the middle and from ± 3 to ± 24 cents to the edges of the range. With some approximation to a uniform temperament, only a section of the middle register is consistent, approximately from a small octave to a second octave. The physical cause of this phenomenon is the inharmonicity of the string overtones caused by the complex influence of the factors of their thickness, tension, and stiffness. For example, measurements show that the second harmonic of the tone for La 1 is not exactly 880 Hz, but deviates upward by about 2 cents, which is 1 Hz for this frequency, therefore it will be equal to 881 Hz. The first harmonic a la 2 will be tuned to the same frequency.
Securing the piano and grand piano
In process of setting
Since the piano is a complex and expensive instrument, and its frame is under heavy load, tuning requires not just a very responsible approach from the master, but professionalism, which means professional training from the piano master and work experience.
The piano master (technician tuner) is able not only to tune the piano, but also to repair it, up to a complete reassembly, replacement of parts and, often, restoration.
In Russian music schools, the tuner’s duties, in addition to tuning, include repair and adjustment of the keyboard-hammer mechanism.
Notes
- ↑ Sergeev M.V. Examination of a professional piano: (Methodical instructions for the course "Examination of Musical Instruments") // Piano Art. History and modernity. Problems of creativity, performance, pedagogy: Interv. Sat scientific tr .. - SPb. : Publishing House RGPU them. A.I. Herzen, 2004. - P. 141-149 .
- ↑ Acoustic musical instrument tuning basics
Literature
1. Bogino G. Modern piano tuning // Musical art and science. - (Issue 1.). - M .: Music, 1970. - P.191-218.
2. Porvenkov V.G. Acoustics and tuning of musical instruments. - M. , 1980.
3. Fadeev I.G., Allon S.M. Repair and tuning piano and pianos. - M. , 1973.
4. Sergeev MV On the professionalism of piano tuners // Society and civilization. 2015. V. 1. P. 142-158.
Links
- Wikimedia Commons has media related to piano tuning.