My Piano is Always "out of tune"

Hi Sergio,

you said it correctly, the tempered system is a compromise.

In fact Bach said: "Now with equal temperament the piano is out of tune in all keys!"

Pianotuning

How is it possible that " My piano is always out of tune" has had 16,200 views?

Sorry for intruding, but I didn't understand a word of what was written... 😃 I would like to understand too.

Hello Pianotuning,

everything you say is true

What?

me, tuning the piano by myself, I can no longer tolerate those beats that I sense at certain points of execution, in no musical instrument especially if there is more than one.

What beats during execution? What are you referring to?

even the acoustic efficiency of a well-tuned piano improves because of the almost total absence of beats (compromise of equal temperament)

Absolutely false !! Beat up whoever told you this nonsense !! 😛

In the tempered system, one seeks exactly the right number of beats between harmonic ratios: increasing fourths and decreasing fifths, brilliant thirds in the central zone that increase the number of beats when moving into the treble region, same thing for fourths and fifths.

ensures that the waves are in phase and therefore do not cancel each other out, making the string bed resonate more.

If you are referring to choruses, okay... Three strings that, when struck, produce sounds in phase with each other have a greater volume, okay, but if anything they produce an effect on the soundboard which groups and amplifies them, not on the string bed. On the string bed, the other strings only go into sympathetic resonance if all the dampers are raised.

In any case, the complete cancellation of a sound produced analogically through the interactions of sounds produced by the percussion of 3 strings is something practically impossible.

Forgive me, I expressed myself poorly: of course there are beats, otherwise we could only play in one key! This "slight detuning" from resonance even with the pedal up and some keys pressed, and therefore also a bit more volume, because if we approximate for simplicity the sound waves produced by the strings as sinusoids and calculate their integral with angular velocity differences that are ω almost zero (beats), we will measure an increase in the RMS value.

Regards, Sergio.

If you expressed yourself poorly before, now it's even worse 😆

Forgive me for insisting, but I like to think that things are clear to you. I don't understand what you mean by saying that if there were no beats we could only play in one key.

if we approximate for simplicity the sound waves produced by the strings as sinusoids and calculate their integral with angular velocities ω almost zero (beats), we will measure an increase in the RMS value.

If we calculate the integral of the wave with angular velocity ω zero, we obtain no sound unless proven otherwise.

Instead, we obtain amplification if we sum the integrals of two waves that have the same omega (different from 0) and phi, i.e., waves that have the same angular velocity and the same phase shift. The amplitude can change; in particular, for amplitude values > 0, the value of the sum of the integrals is always greater than the value of the single addend, so the sound is always amplified.

Oh my God, what a mess...... I remember once in the conservatory, the solfeggio exam was about to begin and all candidates were waiting for the commission to be seated. To "kill time," Maestro Armando Renzi, a great concert pianist and also a great teacher, sat down and "fanned out" chords, arpeggios, and other acrobatics on the piano keyboard in the classroom.... a child burst into tears!!!!! "No... I can't do it... it's too difficult...." ...He thought it was the Musical Dictation test!!!!! Now I feel like crying like that child... because if what you say is true, then I don't know how to do anything... if I don't understand, they give it to me anyway!!!! In short... HELP! (The only thing I know is that I know nothing - Socrates)

I'm going down at the next one.

Of course, Sergio, we also want to joke around and lighten up some discussions here. I just wanted to tell this funny episode that is part of my memories. Don't hesitate to ask other questions and accept our irony too, come on! 🙂

But of course! Wisdom and common sense must prevail over everything.

Regards, Sergio

Dear PianoExpert, and also you, dear PianoTuning and PianoAccordatore

I share everything that the others have said - along with you - but I would so much like that ambiguities did not remain and that we understood each other well; since it is often difficult to express in words what is already confused in writing and, not always, but sometimes, because the intentions of the writer are misunderstood by the reader and the writer would rather write, as much as read in silence without commenting; well, in short, I do not want to repeat myself but, I share everything that the others have said - along with you - in the other post, but I will not tell you which one, for obvious and essential clarity!

On the other hand, the cordiera [damper lever], it is good that TheSimon knows this too; if it is the one from the Andes, it is fine for climbing (sic!) the Sarabandes, but if it is the resonance one, it must not be used for dancing; in short, the cordiera is the foundation of conceit and it is no coincidence that it is placed inside and not at the edge of the pedalboard! So I would not want to seem indiscreet to you, but, now, I beg you, tell me All: was Maestro Renzi a relative of Simone or is Simone a clone of Renzi?

I hope I have been concise and clear.

My initial considerations do not require an answer, but if you do provide one, we will certainly manage to intuit what abyss we could all end up in together, swiftly and all together passionately!

An affectionate rotating sinusoidal, modulating, phase-shifting, and beating greeting.

Gennarino wrote:

Dear PianoExpert, and also you, dear PianoTuning and PianoAccordatore

I share everything that the others have said - along with you - but I would so much like that no ambiguities remained and that we understood each other well; since it is often difficult to express in words what is already confused in writing and, not always, but sometimes, because the intentions of the writer are misunderstood by the reader and the writer would rather write, rather than read in silence without commenting; well, in short, I would not want to repeat myself but, I share everything that the others have said - along with you - in the other post, but I won't tell you which one, for obvious and essential clarity!

On the other hand, the cordiera [stringing/mechanism], it is good that TheSimon knows this too; if it is that of the Andes, it is fine for climbing (sic!) the Sarabandes, but if it is the resonance one, it must not be used for dancing; in short, the cordiera is the foundation of conceit and it is no coincidence that it is placed inside and not at the edge of the pedalboard! So I would not want to seem indiscreet to you, but, now, I beg you, tell me All: was Maestro Renzi a relative of Simone or is Simone a clone of Renzi?

I hope I have been concise and clear.

My initial considerations do not require an answer, but if you do provide one, we will certainly manage to intuit what abyss we might all end up in together, swiftly and all together passionately!

An affectionate rotating sinusoidal, modulating, phase-shifting, and beating greeting.

... Very clear. thanks Gennari’... 😆😄😉

Christ!

I thought I had made a mistake ... 😳... and, instead !!!!!!!!!!!!! 🙄