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在《乐器》杂志上我曾读到过二、三篇关于钢琴音准曲线方面的文章,平时我也就此问题作过一些思考。在和一些调律师的接触过程中,我发现这个问题在他们的思想中存在着片面的理解。因此,我想在此篇文章中针对这个问题作一些简要的分析说明,以助同行们形成正确的音准曲线观念,从而胸有成竹地去进行调律工作。作为调律师都知道,调好的钢琴其音高遵循一音准曲线分布。那么又何以会形成此曲线的呢?多数调律师们会说这是人的音准听觉规律的客观要求,却几乎没人会去触及到琴弦本身所具有的某种性质而从另一个方面去理解。事实上每一架钢琴在调好音后,
In “Musical Instruments” magazine I have read two or three articles on piano pitch curve, and I usually made some thinking on this issue. During my contacts with some transfer lawyers, I found that there was a one-sided understanding of this issue in their thinking. Therefore, I would like to make a brief analysis on this issue in this article so as to help my colleagues to form the correct concept of pitch curve, so that they can conduct their own tuning work well. As a transfer lawyer all know, tune a good pitch of the piano follow a pitch curve distribution. So why the curve is formed? Most lawyers will say that this is the objective law of the human voice quasi-auditory requirements, but almost no one will go to touch some of the nature of the string itself from the other side to go understanding. In fact, every piano tune in good tune,