![]() ![]() One of the most vocal proponents of 432 hz is Brian Collins, who runs the website. Many people have an almost religious addiction to this idea, using words such as “mathematically consistent with the patterns of the universe” and claiming that 432 “will support humanity on its way towards spiritual freedom”, as well as spreading ideas of a Nazi conspiracy to use a 440 hz standard to make humans more aggressive and violent. A Google search of this frequency will provide hundreds of thousands of links to various websites touting the perceived superiority of 432 hz. One alternate tuning that has gained a significant following is 432 hz. There are many people around the world who oppose the assignment of 440 hz as the standard concert pitch. Though not universally accepted, this standard is by far the most common pitch in use today. The standard pitch set by the ISO was 440 hertz for the key A4. ![]() This standard would allow for musicians worldwide to play the same music at the same pitch. In 1953, the International Organization for Standardization set out to create a standard pitch for western music. ![]() If you are unfamiliar with the sounds produced by these frequencies, you can plug them into to hear the differences. ![]() Some Italian and French orchestras commonly tuned to a pitch of 450 or higher. Mozart, Bach, and Beethoven likely composed with an A4 pitch between 420 and 430. The interesting part is that this single note could vary wildly (from 380 hertz to 500 hertz) depending on where in the world the orchestra was. This was the reference note that every instrument in an orchestra would tune their instruments to. Since the 18th century, the keystone of western music has been the note A above middle C, also known as A4. An orchestra playing a Mozart piece in Vienna would sound significantly different than an orchestra playing the same piece in New York. This meant that every orchestra would tune to a different pitch than every other. For a long time, there was a lack of any international standard for musicians to tune their instruments to. Over the centuries, the tones that comprise western music have fluctuated wildly. hammers will wear unevenly, bushings in the hammer flanges will get torn up, and grand hammers can get wedged against their dampers.īasically, take it easy on your piano and you won't have to deal with the long-lasting effects of string replacement. In addition to this, missing strings can wreak havoc on action parts inside the piano. In the low bass, where each note is only comprised of a single string, the pianist must simply deal with the string going quickly out of tune, as a mute would deaden the note completely. However, this comes with the trade-off of slightly lower volume in the bichord and trichord sections of the piano. Muting the string ensures that it won't be audible as it goes out of tune. On a typical home piano, it can take years before the strings have fully stretched out and stabilized. The best way to deal with this is to mute any new strings until they have been tuned enough times to become stable. So, when a string breaks in your piano, it will be replaced and freshly tuned, but that new string will go out of tune much faster than the rest of your piano. The problem here lies in the fact that most piano tuners aren't going to want to tune your piano six times over the course of a few days. Without this, the tuning of the piano would be very unstable and the pitch of all of the strings would drop very quickly as they stretched. Since the pitch produced by a string is affected by its mass, length, and tension, any changes in these properties will cause a change in pitch.Īfter a manufacturer has finished building a new piano, they will tune it a half a dozen times or more to ensure they get as much stretch out of the strings as possible. This has the effect of very slightly lengthening the string, which causes the tension to drop slightly as well. Piano strings, whether wound or plain, will stretch over time due to the large amount of tension that they are placed under. The problems arise after the string has been replaced. When it comes to replacing a broken string in a piano, the procedure is fairly simple. Plain strings are found everywhere else in the piano and are simply a steel wire of an exact, consistent diameter throughout its length. Wound strings are found in the bass section and are composed of a steel core running the length of the string, and a copper winding that is wrapped around the core. There are two types of strings in a piano: wound strings and plain (straight gauge) strings. Replacing a broken string is not a "fix it and forget about it" kind of problem. There are a lot of heavy-handed pianists out there who seem to have a misconception about the ease of replacing broken piano strings. ![]()
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