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Piano Tuning: A Simple and Accurate Method for Amateurs
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Piano Tuning: A Simple and Accurate Method for Amateurs [Format Kindle]

J. Cree Fischer

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Descriptions du produit

Présentation de l'éditeur

Learn a very simple, professional method for tuning with 17 lessons. The author, who taught at a piano tuning school, explains how to use basic tuning tools to correct a few notes or an entire piano. Repairs include fixes for sticky keys and adjustments to bottoms, capstans, hammer stems, and more.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1971 KB
  • Nombre de pages de l'édition imprimée : 224 pages
  • Editeur : Dover Publications (5 mai 2014)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • Synthèse vocale : Activée
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  • Classement des meilleures ventes d'Amazon: n°228.491 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires client les plus utiles sur (beta) 3.2 étoiles sur 5  34 commentaires
86 internautes sur 86 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 A few good ideas, but outdated and misleading 29 décembre 1999
Par Ken Walker - Publié sur
Format:Broché|Achat vérifié
This probably was a good book in 1907, but too much has changed for it to be valuable now. The author's repeated references to square pianos, "international" vs. "concert" tuning frequencies, and tuning to C-517.3 are comically antiquated.
I appreciate a mathematical approach to tuning, but the discussions in chapters 8-14 are a clumsy attempt to explain concepts that someone with a decent mathematics and music background can easily calculate -- that the ratio between adjacent notes is the 12th root of 2; and that chord, interval, and beat relationships can be derived from that ratio. A modern calculator makes much of this book completely pointless.
The author's math sequences are cumbersome, and his conclusions are sometimes wrong. His beat frequency calculations are not always correct. The beat frequency of his C-128 to G-191.78 combination should be .44 Hz., not .66 as he calculates. A simpler and more correct way to calculate the beat frequency of a 5th interval is to subtract the 2nd harmonic (2 X 191.78) of the higher string from the 3rd harmonic of the lower (3 X 128).
The discussion on where/how to place mutes is helpful, as are the points about taking proper steps to ensure the validity of piano hardware before tuning. Also, the method of setting temperament by 5th and octave steps is useful.
In summary, if you have enough math and music experience to see through the dated material, the cumbersome derivations, and the false conclusions, this book gives a few helpful tips. I would not recommend it to most tuning amateurs, however.
17 internautes sur 18 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 So THAT'S how they do it! 10 août 2000
Par bill price - Publié sur
I first read this book in 1973, after which I tuned--and tempered--a piano. What a kick! The book is old, but so are vibrations. I found the math to be un-necessary unless I chose to follow the author's logic or "play" with the figures. I recently re-read the book because I had forgotten the ideas behind "just" and "compromise" temperament. I found what I wanted, then continued to re-read the whole book again--though I skimmed over parts I remembered.
If you want to become a piano tuner, you should either apprentice with one, or take a mail-order course offered in a detective magazine. If you want to know how it's done--and might like to try tuning your old upright for the sheer joy of it--this is your book--but don't touch grandma's Steinway, okay?
Dover publishes a lot of old books, many of which have reverted to "public domain" and don't require royalty payments. That's no sin, and it's clearly reflected in their prices. As Will Shakespeare might say, "There are still a few old books worth reading." Thanks, Dover.
10 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 You can really do it! Learn how to tune a piano 10 septembre 2001
Par Claus Hetting - Publié sur
This book is ancient, I think from the early 20th century, but still holds true and is an excellent and straight forward resource. As a pianist, it has been a revelation to understand how it is done, and even more fun to actually achieve a reasonable tuning myself (with a little help from my professional piano tuning friend.. OK, so I cheated a little...!). Highly recommended. To make life a little easier, I recommend getting a quality electronic (chromatic) tuner to tune the middle octave, after that use the octaves and 5ths to do the rest.
Full marks to Dover - again. They provide a great collection of classics on music, especially piano related stuff. I think I have perhaps 5-6 books by this publisher.
9 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Piano Tuning and repair, straight to the point 3 août 1998
Par Un client - Publié sur
While I have not seen many other books about piano tuning, I was surprised how this book always comes straight to the point. It covers not only how to tune a piano, but also how a piano works (upright and grand), how to repair it and the theory of temprament.
The book has originally been written in 1907 for people who wanted to become piano tuner. In the recent edition, however, they removed the chapters on Business Hints and Charges :-)
If you own a piano and you want to maintain it yourself, this book is for you.
3 internautes sur 3 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Archaic and overly technical 22 janvier 2014
Par Elton Sean - Publié sur
Format:Format Kindle|Achat vérifié
This book written in a more classic, theoretical, dense, flowery literary style of the era it was written in. What would work better is a book written in layman's language...similar to being shown and taught by a piano technician in person. Step by step, what to watch for, listen to, tuning lever technique, listening and comparing beats, and, offering several different approaches to setting what we in the trade call, "the temperament octave."

Short tutorial: There are different tuning systems which are valid. Some use fifths: others use fourths. I like a comprehensive approach which uses ALL the different intervals to check the temperament. It does help to be familiar with music theory--we are dealing with notes and intervals here. I will use layman's language in describing things like I'm telling and showing you as though you are standing next to me. I hated music theory in high school, I played by ear. Later on, in college, I sucked it up and learned to sight read and learned music theory. You need some working knowledge of music theory to get what we're talking about here. It's also a useful language for communicating and understanding music with other musicians. Weird how I KNeW so many things from instinct but couldn't communicate those or explain myself with other musicians until I understood music theory. It is the shorthand, the language of music communication...but I digress....

1. The de facto starting place is tuning the a above middle c, against an "a" tuning fork. Not directly--just Compare the beat rate of the fork tone against F2 note of the piano(second f note up from the left hand side "bottom" bass side of the piano), one of the f2 strings muted, stick a bass wedge mute to "deaden the sound " of one of the pair of strings producing f2...and that "a" above middle c, to that F2. If you have to de tune that f2 slightly sharp or flat to get a useable beat rate (not too slow, not too fast) go ahead and adjust/tune that f2 accordingly. You'll want a faster beat rate to make it easier to compare things. a fast beat rate: compare the two, and adjust your "a" note until the beating of F2 against the a fork and f2 against your "a" note is the same.

Note: you will need at least two rubber treble mutes and one bass mute. The strings on the piano, start with one strong per note in the bass, to two strings per note in the higher bass and lower tenor: to three strings per note in the upper tenor range to highest treble note. Mute out the right string of a pair, tune the left one first, , then tune the right string to it. In the 3 string per note, mute out the outside strings and let the center string sound. ConverseLy, if the strings are spaced enough apart, you could stick the treble mute between the center and right string, tune the left, move the mute between the right string and the left string of the next note, tune the center string to the left string, then remove the mute altogether and tune the right string to the other two. Or, stick the mute between the center and right string of the next note, to get it out and the way and ready to tune the next note....with two mutes, When you are done tuning the sounding string, take off one mute, tune that string, then take off the other mute, and tune that remaining string to the other two strings. The result should be a "clean" sounding strings in perfect tune together. Unisons. Like three people singing the same note perfectly together.

2. Tune the a note below middle c, to the a note above middle c, as a beatless octave or "clean". Overshoot or tune that higher a slightly sharp then come down in pitch erring if anything slightly"stretched" or sharp, but "clean" sounding octave.

3. Tune the f below the a below middle c, to beatless, then slightly "flatter" so that this major third interval beats fluttery and fast. "Wide." Approximately 7 beats per second. Next, tune the C sharp above that a, to beatless then go slightly sharper so that interval beats faster than the f-a interval we just tuned. "Wide" Next, tune the f above the C sharp, to beatless, then tune it slightly sharper or wide, the beats will be fairly fast. "Wide" If you listen to a piano just tuned, you can hear the beat rate of these intervals for comparison to yours and adjust. If not, it's a bit of a guessing game for now.

The f-a interval, the a to C sharp interval, and the C sharp to f interval, are what we would call contiguous major thirds. The speed of the beating of the a to C sharp interval in the middle, should 'fit in' speed wise, halfway speed wise, between the slower speed of the lower pair, and the faster speed of the upper pair of the contiguous major thirds. It's hard to describe, it's hard to envision in your minds ear, but that is the idea.

4. Next, tune the b flat below middle c, to the f below middle c. Tune it so that you tune it beatless, but then, tune it ever so slightly sharp or "wide." Very very slow flange sounding kind of beat, a slow drawn out "wah". The beat is very hard to hear and is a second long, time wise, This is a fourth. Next, tune the e flat above middle c, to that b flat. The beat should be slightly faster than the interval below but almost imperceptibly so. About 1beat per second. Next, tune the middle c to the f above middle c. This is a fourth also; tune the interval beatless, but then tune middle c slightly FLAT of beatless. About a one second long beat. Then, tune the g below middle c beatless, but then, tune it slightly FLAT or wide, about 1 beat per second. Now you've tuned a chain of contiguous fourths.

Next, tune the f sharp below b flat, to beatless, a major third interval, then, tune it FLAT or wide, to a slightly faster beat rate than the f-a interval you tuned. Lastly, tune the d above middle c to the b flat below middle c, beatless, then tune it SHARPER so that the beat rate is fast like all major third intervals sound. Just slightly faster than the major third interval just below that, but slightly slower than the major third above it. You are comparing, listening. When you test these intervals with their neighbors, "fit them" speed wise between each other as best you can. Now, tune the a flat below middle c, to beatless, then tune FLAT to a fast beat. Lastly, tune e above middle c beatless, then tune sharp or WIDE so that it beats just a tiny bit slower than the a-C sharp i interval you already tuned.

NOW- listen --test your intervals---play contiguous major thirds starting with the f-a pair below middle c, up to the following major third interval (f sharp-b flat--excuse my improper music theory grammar ) up and down through the temperament octave which is f below middle c to f above middle c. The major thirds should beat in a smooth progression, slightly faster as you go up, slightly slower as you move down, in even proportion.

Don't worry--took me over the course of a year to master the temperament octave with guidance from my mentor. If you are determined you will learn bits and pieces along the way and they will all fall in place. Your mileage will vary. Once I get it I get it but I'm not the quickest study. I've got raging perfect pitch but you don't need that whatsoever. This is a contrast and compare exercise. Once you get the temperament octave, if you are at all interested in aural tuning, or tuning by ear--the rest of tuning is basically octaves and unisons. The temperament octave is the big hump to get over.

Try playing contiguous major sixths--same thing, rapid beat patterns, same progression. The lowest major sixth in the temperament octave is f-d. (F below middle c; d above middle c). Move up and down half steps chromatically from those start notes.

Now, test 4ths--. F- bflat below middle c, and play all the contiguous major fourths up through the temperament octave. Same thing. Half steps moving chromatically. Try to adjust the intervals so they beat I. A smooth progression. Fourths beat slowly.

The thing thing with fifths. If you did things right, even though you didn't tune fifths per SE, if you tuned things more or less correctly, the fifths will not beat at all and you can play them through the temperament octave and try to adjust them if they sound really wrong or beat wrong. Fifths are tuned slightly "narrow"--meaning, the top note of a fifth interval will be tuned ever so slightly FLAT of beatless, or, the bottom note of a fifth will be tuned slightly SHARP of beatless. To "bring the two notes closer together in a "narrower" interval.

Sounds complicated and a lot? It is. Listen to well tuned pianos freshly tuned. Discover the beat patterns. Hey, digital pianos do it too because they are sampled from real pianos. But eventually, you break through the confusion and details, and can deftly move things around in a temperament octave until everything sounds "right" in relation to each other. Honestly, it is the process of "de tuning" from just intonation, or beatless intervals throughout, into beating intervals in which all intervals played in all different keys of music, sound acceptable. Our western system is by no means the only system out there. That's why Asian music sounds so "strange" to us for example. We are used to hearing our western style of tuning. But there are older styles of western tunings--baroque tunings, etc. They are often beautiful and magical if not a little strange sounding to us. This is equal temperament--it's all about compromise.

Once you accomplish the temperament, you tune octaves out of it into the treble and bass. Temperament is the roadmap to tuning the rest of the piano.

Tuning hammer technique is vital. We put beginners on a tuning pin in a piece of pinblock wood. Between moving the lever from 12 o clock to 3 o'clock on the pin, how many discrete tiny moves can they accomplish? We're talking in thousandths of an inch. You have to push against resistance which suddenly gives way--analogous to moving a heavy piece of furniture by pushing against it and moving it an 8th of an inch at a time, rather than pushing hard and having it slip two feet at a time. You must Develop control! We have contests to see how many controlled moves we can get. The goal is to be able to not move the tuning pins and strings excessively and to move them by methods which will help stabilize things and help the tuning "stick" and last longer. Smaller precise movements are the key. Unnecessary excessive movements don't stabilize tunings very well.

So again---
The temperament octave, Which is now F below middle C to F above middle C. Major thirds, major sixths, are tuned wide. Meaning, the top note of the interval is tuned "sharp" of pure, so that it beats fairly rapidly. wide) perfect fourths are tuned wide, bit slow beat, about 1 beat per second. , perfect fifths (so called, in piano tuning, fourths are tuned "wide" fifths are tuned "narrow"). Octaves going up are tuned slightly "wide" or stretched from there, as higher octave notes will tend to "sound flat" otherwise if tuned perfectly 2:1 or totally beatless. You can also check compound major you play them progressing up the keyboard, the "beats" will sound a little faster from note to note, slower, as you go down the keyboard. There should be a smooth, gradual progression, even from note to note, in the beat patterns. There is a compound minor 7th check which is great for checking bass notes going down to the lowest bass notes. In tuning pianos, generally, you want to "overshoot" the pitch slightly sharp, then ease the tuning pin and string into tune. This is done by moving the pin in small increments, in movements which are analogous to pushing against a heavy piece of furniture and getting it to move in controlled increments. This is called setting the pins. Conversely, with guitars and harpsichords, you just pull up to pitch smoothly and leave it there. There are those who argue that smooth movements in piano tuning are possible, but many of us observe that as the piano string renders across its various bends, turns, etc., and equalizes in tension from the tuning pin across its length, discrete tiny movements seem to render more stable tunings.

Of course, there are challenges to this strategy. Biggest being, with pianos which have ranged farther sharp or flat depending on humidity, time between tunings, etc. : 1 tuning pass will not peg the tuning in place at proper pitch. As you load on more tension onto strings, the bridges and soundboard "bow" bend and give slightly as they adjust to the increased load being put on them such that strings which started flat but were tuned sharper, wander downward in pitch as you tune away; and strings which were sharp before, tend to go back a little sharp wards. There is a process called pitch raise or pitch lower which accomplishes getting the tuning of the piano within close range before it can be fine tuned, and you basically "overshoot" the goal so that when the strings settle back, they are very very close within range. Some tuners claim they can do this by ear. Maybe. Electronic tuning aids, can calculate overpull and make pitch raises and lowerings much less work. Also, There are pianos with tight tuning blocks (or loose!)...there are pianos with strings which don't move easily across their bearing points (render) which feel jumpy and don't allow for easy putting into place to be in tune. Smaller pianos are harder to tune in their scale than larger ones. (Inharmonicity).

Also, electronic tuning aids, can be helpful for those who want to bypass aural tuning. But don't be fooled; modern technology has made these tools fantastic, but in the end, you still need your ears to tune unisons, check things, and override the tuning machine if you find it isn't lining up things the way your experienced ear says they should. And no electronic means preclude learning good tuning lever technique and judgement in getting good, solid, stable tunings. Tune your brains out, and learn different pianos and their quirks. The machine doesn't always make the "right call" when your ear will, and you still have to tune unisons, overcome "false beats" in tuning a note to its best compromise, etc.

Find a piano technician willing to teach you and invest time and effort. It is a great skill to have. Make sure you learn how to replace and or splice broken piano strings before venturing out to work as a tuner. And lifelong experience gained through study of how to repair and fix piano problems--action malfunctions, regulating, etc., are all tools of the trade of knowledge. Good luck!
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