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Secondly, while I agree that the Wikipedia article on pitch is reasonably reliable, it fails miserably in one aspect it continues to present the misconception that pitch has risen over the centuries. It's a pity that while correcting many traditional misconceptions about pitch practice he did not take advantage of the opportunity to also set the record straight about the historical practice regarding reference pitch. This issue of historical reference pitch is the only aspect on which one may fault the otherwise excellent survey of historical pitch practice written by Bruce Haynes.
See, for example, the comments of Jean Deny in his 1636 treatise on tuning the harpsichord, in which he describes attending a concert in Paris for which the harpsichord had been tuned in equal temperament. Historical literature is replete with comments about the problems of combining fretted instruments with keyboard instruments due to their different modes of tempering, and in fact, resolving this issue was one of the advantages cited by proponents of the adoption of equal temperament. Equal temperament has been used since the Renaissance as a common means of setting the frets on lutes, guitars, and violas da gamba. It is important to realize that while it maybe possible to make broad generalizations about temperament use in regards to keyboard instruments - the use of meantone during the 17th century, for example - in a larger musical context, such generalizations do not apply. Until then, the note A had been one of the 11 floating pitches, the precise height of which depended upon the temperament chosen. Before then, the reference note whas almost always C, with the occasional use of F, the latter being somewhat more common in the late Renaissance and early Baroque.
My own examination of the large number of historical works regarding the tuning, tempering, design and construction keyboard instruments as well as theoretical works on temperament and acoustics has demonstrated that the use of the note A for a reference pitch is a 19th-century development. The problem of course is that such tuning systems make it very difficult to move between different keys, or to make an instrument that can play in more than one key without having to retune (which is why equal temperament was developed in the first place).įirst of all, the note used in order to fix the pitch level, usually referred to as the reference pitch. However it is possible to use pure harmonic tuning systems (like Just Intonation) based on integer multiples of the reference frequency which absolutely do sound different, and although a little strange at first are more perfectly in tune than equal temperament. In equal temperament (ie standard tuning) certain intervals between two notes are deliberately slightly out of tune, as this makes it easier to play or move between different keys, which is very useful practically when building an instrument. Secondly though there is the question of intonation, and the intervals that are derived from that reference frequency. Firstly there is the specific frequency value that is used as the basis for the tuning system such as 440Hz, or 432 Hz, or 444 Hz, or 439.33 Hz if you like.
AUDIO TUNER FOR NONE SINGER DOWNLOAD
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Source code and user manuals for some old versions are available on FossHub, as well as AppImages since version 3.0.3.
For Linux, the appropriate version of Audacity for your operating system is usually included in your distribution’s repository.
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