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Standard tuning forks are available that vibrate at all the pitches within the central octave of the piano, and also other pitches. Tuning fork pitch varies slightly with temperature, due mainly to a slight decrease in the modulus of elasticity of steel with increasing temperature. A change in frequency of 48 parts per million per °F (86 ppm ...
A440 (also known as Stuttgart pitch [1]) is the musical pitch corresponding to an audio frequency of 440 Hz, which serves as a tuning standard for the musical note of A above middle C, or A 4 in scientific pitch notation. It is standardized by the International Organization for Standardization as ISO 16.
An A440 tuning fork 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 A440 tuning fork , (or commonly a C523.23 tuning fork) to tune a beginning pitch, and then tunes the other notes ...
Concert pitch rose further in the 19th century, evidenced by tuning forks of that era in France. The pipe organ tuning fork in Versailles Chapel from 1795 is 390 Hz, [ 7 ] an 1810 Paris Opera tuning fork sounds at A = 423 Hz, an 1822 fork gives A = 432 Hz, and an 1855 fork gives A = 449 Hz. [ 8 ]
For other tuning schemes, refer to musical tuning. This list of frequencies is for a theoretically ideal piano. On an actual piano, the ratio between semitones is slightly larger, especially at the high and low ends, where string stiffness causes inharmonicity, i.e., the tendency for the harmonic makeup of each note to run sharp.
Sympathetic resonance is sometimes an unwanted effect that must be mitigated when designing an instrument. For example, to dampen resonance in the headstock, some electric guitars use string trees near their tuning pegs. Similarly, the string length behind the bridge must be made as short as possible to dampen resonance.
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Tuning two tones to a unison will present a peculiar effect: when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies as in a tremolo as the sounds alternately interfere constructively and destructively.