![]() Later editions added chapters or expanded existing ones. This is a revised edition of a book first published probably in the 1830s, perhaps as early as the late 1820s, based on internal evidence (the types of piano it describes).The original author, James Alexander Hamilton, published many books on various musical topics, and was not a professional piano technician himself. ![]() etc. New Edition, greatly enlarged and improved by Joseph Warren. London : Robert Cocks & Co., 1853.Ĩ4 pages. 1830 original? (1853 6th edition) Hamilton’s Practical Introduction to the Art of Tuning the Piano-forte – Written for persons desirous of tuning their own instruments with a mathematical demonstration of the theory of equal temperament observations on sound, vibrating strings and the monochord some account of Earl Stancope’s principles of tuning instruments with fixed tones with a list of authors who have written on temperament to which are added observations on the several parts of the pianoforte (particularly of the cottage, semi-cottage, and piccolo) its mechanism and the method of remedying its defects as also some historical notices instructions for the preservation and maintenance of he Pianoforte, etc. Facsimile reprint Straubenhardt, Germany : Antiquariat-Verlag Zimmermann, 1988.Ĭa. This booklet was probably furnished along with every new instrument sold by the Stretcher firm.ġ805, Gall, Clavier-Stimmbuch oder deutliche Anweisung wie jeder Musikfreund sein Clavier-Flügel, Fortepiano und Flügel-Fortepiano selbst stimmen, reparieren, und bestmöglichst gut erhalten könne. Some very basic advice is given to solve a few mechanical issues. Most of the text is devoted to how to play the piano. Concerning tuning, general advice is offered for raising and lowering pitch, for the effect of temperature, and the like, with no actual instruction on how to tune. His book was reprinted in many editions, at least until 1799.ġ758, Sorge, Georg Andreas and Fritz, Barthold, Anweisung Claviere und Orgeln behörig zu temperiren und zu stimmen. Leipzig : Self-Published, 1758.ġ801, Streicher, Nannette Stein, Kurtze Bemerkungen über das Spielen, Stimmen und Erhalten der Fortepiano. Vienna : Albertischen Schriften, 1801. He comments that a method proposed by Sorge, beginning by dividing the octave into three major thirds, is too difficult, and that using fifths is preferable, as it would lead to the same result. He writes in his preface that his book is aimed at musicians who lived outside cities and towns where the services of a master tuner could be obtained, with instructions written simply enough to allow them to tune their own instruments. Fritz was an instrument builder, and dedicated his book to Carl Phillip Emanuel Bach, remembering that he had once tuned for CPE Bach, who found his tuning excellent. He argues that systems of subtle unequal temperament proposed by others require tempering some fifths by less than 1/12 of the ditonic comma, and that this was unfeasible in practical terms.ġ757, Fritz, Barthold, Anweisung, wie man Claviere, Clavecins und Orgeln, nach ein mechanischen Art, in allen zwölf Tönen gleich rein stimmen könne. Leipzig : Breitkopf, 1757ģ4 pages. Similar to Sorge’s 1744 book (above), but with details and arguments concerning various other tuning methods of his time. reiner Harmonie. Lobenstein : Self-Published, 1748.Ĩ5 pages. In addition to the organ, harpsichord, and clavichord, Sorge specifically talks about tuning the “Clavicymbal,” a term that usually refers to an early version of the piano, also called the “Hammer Pantalon.” Thus, this is perhaps the first work on tuning specifically referencing a piano-like instrument.ġ748, Sorge, Georg Andreas, Gespräch zwischen einem Musico theoretico und einem Studioso Musices von der Prätorianischen, Printzischen Werkmeisterischen … Temperatur, wie auch von dem neuen Systemate … Telemans zur Beförd. He demonstrates the incompatibility of fifths, thirds and octaves, using mathematics, and argues in favor of the use of equal temperament, as the solution that makes all intervals “equally pure (rein),” and avoids intervals that are horribly out of tune “wolves.” He then explains that each fifth must be narrow, and beat (schweben) just a little, and that all major thirds must be wide, while minor thirds are narrow. Written in a conversational style, explaining the problems of temperament. ![]() Links are provided for those that are available as downloadable scans.ġ744, Sorge, Georg Andreas, Anweisung zur Stimmung und Temperatur sowohl der Orgelwerke, als auch anderer Instrumente, sonderlich des Claviers, Hamburg, 1744.ĥ6 pages. The following tuning and repair manuals are over 100 years old, and provide an opportunity to trace the early history of our profession.
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