Definitions, Temperament, Inharmonicity and Stretch Tuning |
DEFINITIONS: A0=220 Hz, A1=440 Hz, A2=880 Hz osv.
Ln =
Distance from the nut to fret n
|
TEMPERAMENTA temperament is a way to define the notes within an octave. That
definition is applied on all the octaves on the instrument. Before the invention of equal
temperament, different temperaments were devised attempting to overcome the problem of
playing in different keys, referred to as historical temperaments. Nowadays a temperament
is a chosen divergence from the equal temperament to achieve tonal effects that will
strengthen the musical character of a composition. Lots of different temperaments are
defined. A temperament can be described by specifying the offsets in cents from equal
temperament for each note within an octave.
While tempering implies a divergence from equal temperament (there is no longer 100 cents between all the half tones) the temperament will only have the intended effect in one or a few keys. You cannot play well sounding in all keys with any other temperament than the equal temperament. |
INHARMONICITY
and STRETCH TUNINGThe frequencies
of harmonic overtones are even multiples of the main frequency. This is the case
e.g. on wind instruments, but on stringed instruments the overtones are inharmonic.
Inharmonicity is caused by the fastening fault in the string endings. A string is fastened very hard in the nut and the bridge, and because of its stiffness it can't vibrate all the way to its ends. Close to the nut and bridge there are short parts of the string that does not vibrate properly. It is said that the effective length of a string is shorter than its geometrical lenght. The stiffer the string the longer the non vibrating parts. These small, non vibrating parts closest to the ends of the string are of no importance for the note of the open string - you just tune the string to correct pitch. But apart from the main vibration, the sound of the string contains a series of overtones. The overtones divides the string in halves, thirds, fourths and so on. The wave lengths of the overtones are shortened by the non vibrating parts and the higher you get in the overtone series, the larger the affect. This makes the overtones pitch too high and the higher up in the series of overtones you get, the worse it becomes. Here is an experiment you can perform on a regular guitar. Hit e.g. the A and D strings simultaneously and tune the fourth interval by listening to the beats. Raise the A string slowly. When the first beating disappear, another beating will appear - sort of hiding behind the first beating. Here you see how the overtones are displaced from one another! Without inharmonicity you only would have heard one beating. Inharmonicity is causing great problems on pianos which have thick strings. The tone in an instrument is very much depending on the resonance of the overtones in the strings you don't play upon. If a piano was tuned to equal temperament it would be perfectly in tune, but it would have very little sustain because the too high overtones would resonate poorly. One way to improve the tone is to lengthen the strings, as on the grand piano. Then the strings become more slender in proportion to their lengths and the inharmonicity decreases. Another way is to stretch the octaves a little to make the too high overtones resonate easier, so called stretch tuning. (N.B. Don't confuse this with tempering where the octaves still are 1200 cents.) How much the tuning is stretched differs on different pianos. It depends on how inharmonic the piano is. In the middle register the octaves are typically stretched about three cents, while the deepest bass and the highest treble are stretched a lot more. The tuning of e.g. guitars may very well be stretched, but unless you don't play a lot together with a piano there is hardly no reason to stretch the tuning. Guitars and other fretted instruments are indeed inharmonic (as we found in the experiment above), but not at all as much as pianos are because the strings are much slender. In wind instruments there is no inharmonicity - they have no strings. There seems to be a common belief that the stretch tuning of the piano makes it impossible to bring it and e.g. a guitar in tune with each other. I dare to say that guitars intonate so poorly that they are not even close to equal temperament. If guitars would achieve equal temperament, the difference from the stretching of the middle register of the piano would hardly be noticeable. |
Copyright © Anders Sterner
Back