From: isako@mit.edu (Isako Hoshino)
Newsgroups: rec.music.makers.piano,rec.answers,news.answers
Subject: rec.music.makers.piano FAQ-General Topics
Followup-To: poster
Organization: Massachusetts Institute of Technology
Approved: news-answers-request@MIT.EDU
Summary: This article is a collection of general information
frequently asked in rec.music.makers.piano
Archive-name: music/piano/general-faq
Posting-Frequency: monthly
Last-modified: 17 Oct 1997
Version: 1.7a
This is the FAQ (Frequently Asked Questions) list for the
newsgroup rec.music.makers.piano.
This FAQ list is intended to present general topics
frequently addressed in rec.music.makers.piano. It is posted
every month. Updates, additions, suggestions and corrections
are always welcome: send e-mail to the address at the end of
this FAQ.
This FAQ is periodically posted to rec.music.makers.piano,
news.answers and rec.answers. This FAQ is available from
rtfm.mit.edu via anonymous FTP under:
/pub/usenet/news.answers/music/piano/general-faq
If you do not have access to anonymous FTP, you may retrieve
it by sending e-mail to mail-server@rtfm.mit.edu with the
message (leave the subject line blank):
SEND usenet/news.answers/music/piano/general-faq
You also have access to rmmp FAQs on WWW:
http://www.ptg.org/rmmp/
==========================================================
changes from version 1.7
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Rec.Music.Makers.Piano General Topics FAQ
You may run a search using the pattern [#.#] where "#.#" is
the topic number.
CONTENTS
[1] About rec.music.makers.piano
[1.1] What is rec.music.makers.piano?
[1.2] Who reads this group?
[1.3] What kind of topics are discussed in RMMP?
[1.4] FAQ lists maintained by this newsgroup
[2] On Piano Playing
[2.1] Am I too old to start learning how to play piano?
[2.2] How do you improve sight-reading?
[2.3] Playing from memory?
[2.4] Ouch! My arm hurts!!
[2.4.1] Repetitive stress injuries
[2.4.2] What's a carpal tunnel syndrome?
[2.5] Is practicing scales, arpeggios, exercises, etc. useful?
[2.6] 101 ways to play Hanon exercises
[3] Teaching! What about teaching piano playing?
[3.1] Checklist for transfer or new students
[4] Digital Pianos
[5] Player Pianos
[5.1] How old are they?
[5.2] What are their values today?
[5.3] Definitions of parts
[5.4] How do they work?
[5.5] Restoring player pianos?
[5.6] Books on player restoration
[5.7] Where can I get Player piano parts?
[5.8] Where can I get new and used music rolls?
[5.9] Any player piano associations?
[5.10] Mailing list?
[7] How Do I Represent Notes Using "Text" Characters?
[7.1] The "General" notation method
[7.2] The "Piano Technician" notation method
[7.3] The "MIDI file" notation method
[7.4] On sharps and flats
[8] Miscellaneous, Random Tidbits
[8.1] What books discuss the piano literature?
[8.2] Interval nomenclatures?
[8.3] Octave spans of various pianos and harpsichords
[8.3.1] Harpsichord octave spans
[8.3.2] Piano octave spans
[8.5] What's a standard height of a piano keyboard?
[8.6] Klavarscribo?
[8.7] Printing staff lines using postscript codes?
[9] On Copyright Laws
[9.1] Where do I get the information on copyright laws?
[9.2] Copyright Status
[9.3] Duration of Copyright Status
[9.4] International Protection
[9.5] Derivative Works and Editions
[9.6] Fair Use
[10] Books and Magazines on Pianos
[10.1] Magazines on pianos
[10.2] Random recommended readings on piano playing
[10.3] Some books on jazz playing
[10.4] What books discuss the piano literature?
[10.5] Random miscellaneous reference books
[11] Other Mail Order Companies
[11.1] Music score companies
[11.2] Digital Piano Mail-Order
[11.3] Specialized recordings
[12] Other Sources of Information
[12.1] RMMP Piano Internet Resources List
[12.2] Piano Technicians Guild
_____________________________________________________________
[1] About rec.music.makers.piano
[1.1] What is rec.music.makers.piano?
Rec.music.makers.piano (RMMP) is an unmoderated newsgroup
created February 1994, initiated by Tim MacEachern as a
newsgroup dedicated for discussions related to pianos. The
group's initial intention was to pull together amateurs and
professionals interested in piano playing or maintenance
without creating prejudice as to whether they play in the
classical, folk, jazz, popular or other musical styles.
[1.2] Who reads this group?
The newsgroup subscribers range from beginning piano students
and people thinking about starting to professional players
and teachers; professional piano technicians to casual do-it-
yourselfers -- all share a common interest in the piano.
[1.3] What kind of topics are discussed in RMMP?
rec.music.makers.piano is an international forum for the
dissemination of information and discussion of all topics
related to pianos, piano playing, piano study and piano
music. Articles posted include, but not necessarily be
limited to topics such as:
- makes and models of pianos
- piano tuning
- mechanics and maintenance of pianos
- techniques used in playing the piano
- the technical or artistic merit of pieces
- techniques applicable to different musical styles:
classical, folk, jazz, etc.
- difficulty of mastery of pieces
- creating electronic accompaniment to piano playing
- non-acoustic piano-like instruments: digital pianos,
electric pianos, etc.
- composing music for piano
- compositions with a major piano component,
e.g. piano concertos or piano/violin sonatas
- teaching styles and techniques
[1.4] FAQ lists maintained by this newsgroup
There are currently three official and three draft FAQ lists
maintained by RMMP:
General Topics FAQ (general-faq)
Playing From Memory FAQ (memory-playing-faq)
Piano Maintenance and Purchasing FAQ (maint-and-buy-faq)
Digital Pianos FAQ (digital-pianos-faq)
Digital Pianos Hardware List (digital-pianos-list)
Piano Internet Resources List (internet-resources)
All official RMMP FAQ lists can be retrieved from
rtfm.mit.edu via anonymous FTP under the directory:
/pub/usenet/news.answers/music/piano
If you do not have access to anonymous FTP, you can get a
copy by sending e-mail to mail-server@rtfm.mit.edu with the
message (leave the subject line blank, and replace the "*"
with the name written within the parenthesis above):
SEND usenet/news.answers/music/piano/*
You also have access to RMMP FAQs on WWW. Here, both the
official and draft documents are available:
http://www.ptg.org/rmmp/
_____________________________________________________________
[2] On Piano Playing
[2.1] Am I too old to start learning how to play piano?
The answer to this question is an emphatic "No! One is never
too old to start!" All you need is love of music, love of
the piano, interest, perseverance and enthusiasm!! (well...
and an access to a keyboard of some sort) As an "older"
student, you actually may have the advantage of quicker
understanding of the concepts, and better motivation since
you know why you want to play. Also since you are the one
initiating the learning process, you have a better chance of
succeeding in your goals of becoming a piano player (some
kids just start playing because their "parents told them so,"
and that won't get them too far in the long run).
Piano playing does wonderful things to the human mind and
body. There have been reports where an 80 year old person
started to learn to play the piano, and in so doing, improved
his motor skills, mental agility and overall well-being, and
went ahead and became an excellent player! So don't let
those 5-year-old seemingly prodigious kids discourage you!
Just go ahead and start learning!
[2.2] How do you improve sight-reading?
*** still under construction :-) ***
[2.3] Playing from memory?
Please read "Playing from Memory FAQ" available from
anonymous ftp at rtfm.mit.edu under
pub/usenet/news.answers/music/piano/memory-playing-faq
...or whatever similar method you used to get hold of this
"RMMP General Topics FAQ".
[2.4] Ouch! My arm hurts!!
[2.4.1] Repetitive stress injuries
Concurrent with the increased use of computer keyboards and
mice in the work world at large, there is an increasing
incidence of computer related repetitive stress injuries
(RSI). Such an injury can interfere with piano playing or
even render it impossible. Because of this possibility, here
we introduce some sources of information available on the
Internet and beyond, containing information on the nature,
causes, prevention and treatment of RSIs.
The Typing Injury FAQ.
Available periodically from newsgroups
sci.med.occupational, news.answers, sci.med,
comp.human-factors, and via anonymous ftp from the
newsgroup archives at rtfm.mit.edu in directory
pub/usenet/news.answers/typing-injury-faq/.
A five-part document, Part 5 of which contains copious
references to other information sources.
SOREHAND listserv
RSI discussions by victims and therapy practitioners.
To subscribe, send a message to listserv@itssrv1.UCSF.edu
containing as the text SUBSRIBE SOREHAND your name.
ftp.csua.berkeley.edu, under directory pub/typing-injury/
An extensive anonymous ftp resource.
books
Emil Pascarelli, "Repetitive Stress Injury: A Computer
Users Guide," John Wiley & Sons, Inc., 1994.
Gyorgy Sandor, "On Piano Playing," Schirmer Books -
A division of Macmillan Publishing Co., Inc., 1981.
Richard Norris, M.D. publications
Dr. Norris is the Director of the National Arts Medicine
Center & Center for Repetitive Motion Disorders at the
National Rehabilitation Hospital in Bethesda, Md.
"The Musician's Survival Manual: a guide to preventing and
treating injuries in instrumentalists," 1993,
International Conference of Symphony and Opera Musicians.
ISBN 0-918812-74-7 $16.95.
This book describes types of injuries, and how to
recognize, treat and prevent them. Other topics covered
are therapeutic exercises and returning to playing after
an injury. A list of performing arts clinics is given in
an appendix.
The book can be ordered from:
MMB Music Inc.
Tel: 314 531-9635
800 543-3771 (USA/Canada)
For people who are unable to locate a proper source of
treatment Dr. Norris has also created a VHS tape titled
"Treatment Options for Repetitive Motion Disorders",
available for $65 directly from him at
National Rehabilitation Hospital
3 Bethesda Metro Ctr. Suite 950
Bethesda, MD 20814
(301) 654-9160
[2.4.2] What's a carpal tunnel syndrome?
Here's an excerpt from "The Complete Canadian Health Guide":
"...Carpal tunnel syndrome (CTS) is an easily treatable wrist
and hand disorder, more frequent in women than in men. The
problem arises through compression of the median (arm) nerve
in its narrow passageway through the wrist, often starts up
in mid-life to old age and generally affects both hands, the
dominant (most-used) more severely. CTS can arise from
certain jobs or hobbies where repeated movements or
vibrations inflame the wrist tissues - for instance,
knitting, computer keyboard work, driving or operating
certain hand held tools such as drills, hammers, chain saws.
The disorder is frequently seen among miners, roadmenders and
others whose jobs involve use of hand-held tools that
vibrate.
"The first hint of CTS is a sensation of numbness or pain,
usually on first awakening - as if parts of the hand had
'gone to sleep' - typically felt in the thumb and index
finger, but sometimes all the fingers tingle. The tingling
sensation worsens on flexing or extension of the wrist,
subsiding when the hand is bent inwards or at rest (in a
'neutral' position).
"Numbness from carpal tunnel syndrome may appear after any
movement that keeps the wrist overexerted for long periods:
stitching, painting, doing manicures or giving a massage.
Besides being annoying, the loss may lead to burns (due to
lessened sensation of heat, pain, pressure), and the muscle-
wasting can make wrist movements clumsy. As CTS progresses,
wrist and thumb strength may seriously decline. The reduced
grip may make it difficult to grasp even light objects.
"The tingling can be set off or worsened by anything that
makes the wrist tissues swell and compress the median nerve.
Fluid accumulation during pregnancy or before a menstrual
period, a Colles' (wrist-bone) fracture, gout, rheumatic
(arthritic) swelling, and adrenal or thyroid disease are
typical causes.
"Diagnosis of CTS is relatively easy by the typical night-
time or early-morning hand tingling, use of Phalen's test
(flexing the hands at a 90-degree angle to see if and when
tingling occurs) and Tinel's test (tapping the median nerve
at the wrist to see if and how strongly it produces
tingling). The sooner the tingling appears, the more serious
the condition. Confirmation is with a nerve-conduction study
and electromyogram (EMG), in which small electric shocks are
applied at different spots along the median nerve and the
muscle twitch is charted to show whether, and to what extent,
the hand muscle has retained or lost its nerve supply.
"Treatment for carpal tunnel syndrome can be conservative:
wearing a light plastic wrist splint at night, taking anti-
inflammatory medication by mouth or injection into the wrist,
altering sleep positions and avoiding movements that worsen
the disorder. With correct therapy, time and patience, the
loss of nerve conduction can often be reversed. Sometimes
operating tools in a better, more neutral wrist position
helps to alleviate the problem. Modern designers are working
on vibration dampers, shock absorbers and other ways to
lessen the damaging vibrations of hand-held tools.
"If other methods fail to correct CTS, surgery to decompress
the nerve may be suggested - a simple procedure done under
general or local anesthetic that frees the trapped nerve and
usually provides rapid relief. After a few days, stitches are
removed, but splints may be needed until the wounds heals..."
[2.5] Is practicing scales, arpeggios, exercises, etc. useful?
You will find differing opinions on this matter, but most
pianists will agree that practicing these exercises can help
your technique if you approach it with the correct attitude.
Don't simply race through all the notes; treat the exercises
as if they were real compositions, and give them just as much
attention to phrasing and dynamics. Also, try to find
exercises which pertain to the repertoire you are learning.
If you are studying a Bach fugue in E minor, for example,
careful practice of the E minor, G major, and neighboring
scales will help you much more than practicing the A flat
major scale. With Hanon exercises, you can increase the
difficulty by transposing the studies into different keys,
playing them backwards, playing one hand legato and the other
staccato, playing them in canon, etc. Be creative!
[2.6] 101 ways to play Hanon exercises
***I'm still compiling this part! Any suggestions would be
most appreciated!!!***
_____________________________________________________________
[3] Teaching! What about teaching piano playing?
[3.1] Checklist for transfer or new students
This is a list compiled by Martha Beth Lewis, presented here
with her permission. She likes to send a complete report of
the student when the student is transferring to another
teacher, or vice-versa. If you are a teacher, this would be
a good guideline on what to look for when learning about a
new student. She does not keep this list confidential - and
will share with the student, parent and the teacher involved.
It is also suggested to keep a record of the report for
future reference.
1. general - when student began study and at what level
(beginner or transfer.; parental attitudes), precis
of personality, mental acuity, cooperative spirit
last recital piece(s) and date(s), any other
instruments played or desired to be played;
other music activities
2. note-reading skills (does student read sharps and flats?
key signatures?)
3. counting skills (eighth-notes yet? sixteenths?)
4. technique studied; include exercises student would have
started with me within the next 6-12 mos.; sight-reading
skills
5. articulation skills (can student play accents? staccato?
sfz? portato? feminine endings? phrase lifts? motif
lifts?)
6. fingering (how much does student do on own?)
7. pedaling skills (damper? sostenuto? half-pedal?)
8. literature studied
9. ornamentation (which ornaments student can play; general
knowledge of performance practice)
10. form and analysis skills, including keyboard harmony
11. ear-training skills
12. composition and improvisation (how much we have done;
whether student seems interested in these areas more than
the norm)
13. memory (how easily and securely student memorizes; how he
feels about memory playing; my recommendation for memory
playing)
14. competitions and adjudicated exams (how student reacts
to these; or how I think he might)
15. motivation (how well student motivates himself; what
external motivators help or hinder)
16. poise (primarily stage presence)
17. summary (general recommendations for teaching strategies
with this particular student; long-term prospects)
_____________________________________________________________
[4] Digital Pianos
Please read "Digital Pianos FAQ" and "Digital Pianos Hardware
List" available from anonymous ftp at rtfm.mit.edu under:
pub/usenet/news.answers/music/piano/digital-pianos-faq
pub/usenet/news.answers/music/piano/digital-pianos-list
...or whatever similar method you used to get hold of this
"RMMP General Topics FAQ".
_____________________________________________________________
[5] Player Pianos
The general subject of player pianos is far too great to try
and cover entirely here. Therefore, this list is limited to
those instruments most likely to be found at the average
estate sale, grandma's basement, or in an old dusty corner of
a garage.
This section of the FAQ was contributed by Rick Pargeter. If
you have any questions regarding player pianos, please
contact Rick at 70702.2016@compuserve.com. If you have
corrections, etc., please e-mail the FAQ maintainer at the
end of this FAQ.
[5.1] How old are they?
Most common players were manufactured between 1915 - 1929
[5.2] What are their values today?
Generally, an unrestored, average, run-of-the-mill, complete,
70-year-old player is perhaps worth 10% - 20% more than the
same vintage non-player. However, it is always best to have
it professionally appraised. Some players bring very high
values. Player pianos which are grand pianos, original
"nickelodeons" (coin-operated commercial units), and
reproducing players are usually considered high-value player
pianos.
[5.3] Definitions of parts
Bellows - A component usually consisting of two like-pieces
of wood with a cloth hinge at one end, and covered with
a rubberized cloth. One side of the bellows will have
an opening, so that when vacuum is applied, a mechanical
action occurs. Conversely, when connected to pedals and
a check valve is added, they act as a pump, lowering the
pressure in the stack.
Stack - The upper part of the player. This is the part that
plays the piano, and contains the valves, bellows,
spoolbox, and wind motor.
Spool Box - This is the area where the piano roll is
inserted, and is usually behind a set of doors.
Tracker bar - The brass bar in the middle of the spool box
that has all those holes in it. Each hole represents a
note on the keyboard. They are sequential (i.e., C C# D
D# E F F# G G# A A# B). Tubes, usually made of lead,
are connected from the back of the tracker and to the
stack. Each tube is connected to a channel in the stack
that controls a valve connected to the main vacuum
supply from the pump.
Pump - The lower part of the player. The pumping pedals are
connected to the pump. The pump usually contains the
wind motor regulation, and controls to divert the vacuum
to the stack, wind motor, and expression pneumatics.
Expression pneumatic - Since the piano's usual expression
pedals are covered up by the pump pedals, it looks as if
you cannot access them. However, there is a way to
duplicate these pedals through the use of expression
pneumatics. The piano controls are usually located
underneath the hinged key slip. Usually, there is a
button which will control the equivalent pedal function
also. In order to operate the loud pedal, simply push a
button on the control rail, and the loud expression
pneumatic will operate exactly like the loud pedal. In
addition to the loud pedal, there are usually two soft
pedal expression pneumatics.
[5.4] How do they work?
Player pianos use suction, not pressure, to work. As the
pedals are operated, air is pulled from the pump and the
entire stack is placed under a slight vacuum. This vacuum
operates a motor that turns the rolls in the spool box. The
piano roll has holes cut in them that when they pass over the
tracker bar, the tracker bar's holes are uncovered. A valve
is operated when the holes are uncovered that applies vacuum
to the striking pneumatic, which plays the note on the piano.
[5.5] Restoring player pianos?
As with any pianos, a key to safely restoring old instrument
is patience and time. It is best to have restoration done by
a professional; however, anyone with a reasonable mechanical
aptitude and patience can restore a player.
The materials used in restoring player pianos are very
specialized, and are generally unavailable at your average
local stores. Vinyl covering (Naugahyde) will crack to
pieces in a matter of days when used to recover pneumatics.
Common rubber hoses (fish tank and automotive style) will
collapse and turn brittle in a matter of months, rendering an
irreplaceable antique musical instrument useless. Also,
white glue, silicone sealers, body filler, tape, etc., have
no place in player pianos. The tried and true methods and
materials as used when manufactured are to be used in the
restoration.
[5.6] Books on player restoration
The main book for player restoration is:
PLAYER PIANO - Servicing and Rebuilding,
by Arthur Reblitz
Published by The Vestal Press
Vestal, NY 13850
ISBN 0-911572-40-6 (pbk.)
For advanced rebuilders:
Orchestrion Builder's Manual and Pneumatics Handbook
By Craig Brougher
[5.7] Where can I get Player piano parts?
The main source for player piano parts is:
Player Piano Co.
704 East Douglas
Wichita, Kansas, 67202
Tel. (316) 263-3241
[5.8] Where can I get new and used music rolls?
New Piano rolls are being produced today. Some of the
manufacturers and suppliers are:
Upright & Grand
Eric D. Bernhoft
P.O. Box 421101
San Francisco, CA 94142
QRS Music Rolls, Inc.
1026 Niagara Street
Buffalo, NY 14213-2099
Tel: (716) 885-4600
Fax: (716) 885-7510
AOL Keyword: QRS
QRS Pianomation Center
Solenoid player piano division
(similar to PianoDisc system)
2011 Seward Ave
Naples, FL 33942
Tel: (941) 597-5888
Fax: (941) 597-3936
Play-Rite Music Rolls
P.O. BOX 1025
Turlock, CA 95381
Bluestone Music Rolls
485 Gatewood Lane
Grayslake, IL 60030
Piano Roll Center
108 Southcreek Circle
Folsom, CA 95630
Collector's Classics
163 Main St.
Thomaston, ME 04861
Pianola Institute
c/o Denis A Hall
6 Southbourne
Hayes, Kent England
Bam-Bam Piano Rolls
1750 Karg Drive
Akron OH 44313-5504
http://users.aol.com/BamRolls
bjelen8875@aol.com
http://www.playerpianos.com
source of collectible player piano rolls
[5.9] Any player piano associations?
Automatic Musical Instrument Collectors Association (AMICA)
Suppliers of specialty items are also advertise here. For
membership information contact:
Mike Barnhart
919 Lantern Glow Trail
Dayton, Ohio 45431
[5.10] Mailing list?
There exists a group called Mechanical Music Digest, formerly
called Automatic Musical Instruments, which has a mailing
list maintained by Jody Kravitz and edited by Robbie Rhodes.
If you want to subscribe, visit their website at:
http://mmd.foxtail.com
_____________________________________________________________
[7] How Do I Represent Notes Using "Text" Characters?
There are three major notation systems being used rather
frequently today. When you see a notation on your screen,
you will have to judge for yourself which system is being
used. In most cases, that shouldn't be too difficult. For
instance if you see "RPT" written after the poster's name,
you can probably assume they are using the "piano technician"
notation (RPT = Registered Piano Technician). And if you
start seeing numbers higher than "7" being used after the
pitch, you probably can assume the "MIDI" notation system is
being used.
[7.1] The "General" notation method
There is a simple alpha-numeric notation system which has
been in existence for some time and which may be used in
postings on the Internet. It is as follows:
Going up starting at middle C: c1 d1 e1 f1 g1 a1 b1
Continuing up the next octave: c2 d2 e2 f2 g2 a2 b2
And the octaves above that: c3 etc.
...and so on...
First octave below middle C: c d e f g a b
Next octave lower: C D E F G A B
Next octave lower: C1 D1 E1 F1 G1 A1 B1
...and so on...
However, if you decide to print this out in hard-copy,
publications rules change. On hard-copy, the numerals in
the upper octaves are written as superscripts, and those
below middle-C are written as subscripts.
Source: Baker, Theodore, Ed., "Pronouncing Pocket-Manual
of Musical Terms", G. Schirmer, Inc., New York, 1947.
[7.2] The "Piano Technician" notation method
Some piano technicians seem to prefer a different system,
which starts with A0 at the bottom and ends with C8 at the
top:
A0 B0
C1 D1 E1 F1 G1 A1 B1
C2 D2 E2 etc.
...and so on, until you reach C8
[7.3] The "MIDI file" notation method
The MIDI files sequentially number keys from 1 at the bottom
to 88 at the top:
A1 A#2 B3 C4 ... B87 C88
[7.4] On sharps and flats
The computer keyboard imposes a few limitations on the use of
this notation system. There is a sharp sign (# -- use the
"pound" sign) on the computer keyboard, but no flat sign.
The lower-case "B" (b) will have to suffice The accidental
is written one position to the right of the letter which
indicates the note, makes it unambiguous. For example, B#
for B-sharp-second-octave-below-middle-C, b1b for b-flat-
first-octave-above-middle-C, etc.
_____________________________________________________________
[8] Miscellaneous Tidbits
[8.2] Interval nomenclatures?
Here's a crash course on interval nomenclatures.
perfect unison: 2 notes on same pitch
minor second: 1/2 step
major second: 1 step
minor third: 1-1/2 steps
major third: 2 steps
perfect fourth: 2-1/2 steps
augmented fourth: 3 steps (see enharmonic intervals)
diminished fifth: 3 steps (see enharmonic intervals)
perfect fifth: 3-1/2 steps
minor sixth: 4 steps
major sixth: 4-1/2 steps
minor seventh: 5 steps
major seventh: 5-1/2 steps
perfect octave: 6 steps
perfect consonances: unisons (or primes), fourths, fifths,
and octave are only perfect, diminished or augmented.
imperfect consonances: thirds and sixths intervals
dissonances: seconds and sevenths intervals. only major,
minor, diminished or augmented
Major intervals: 1/2 step larger than minor intervals. only
major, minor, diminished or augmented
Augmented intervals: 1/2 step larger than perfect or major
intervals.
Diminished intervals: 1/2 step lower than perfect or minor
intervals.
Enharmonic intervals: intervals that use the same pitches but
are spelled differently (and thus function differently).
Tritone: augmented fourths and diminished fifths are
enharmonic, and both are commonly referred to as the
tritone. (for example, C to F# and C to Gb are not the
same interval, but they are enharmonically the same)
Other intervals:
compound intervals...larger than an octave
inverted intervals...major becomes minor, etc., but note
that perfect inverts to perfect,
imperfect to imperfect, and dissonant
to dissonant
Sources of this information:
Benjamin, Horvit, and Nelson, "Techniques and Materials of
Tonal Music" (Houghton Mifflin, 1975):
[8.3] Octave spans of various pianos and harpsichords
[8.3.1] Harpsichord octave spans
Pisaurensis (1533) = 169mm
Ruckers = 167mm
Pratensis (1612) = 166mm
J. Mayer (1619) = 168mm
Giusti (1676) = 174mm
Italian (1695) = 163mm
Kirkman (1767) = 162mm
Graebner (1774) = 156mm
Clavichord,
Schmahl (1794) = 158mm
[8.3.2] Piano octave spans (All grands unless otherwise noted)
Cristofori (1726) = 164mm
Pohlman (square, 1770) = 178mm
Stein (1780s) = 156, 158, 160mm
Schiedmeyer (1780) = 156mm
Schiedmeyer (1785) = 180mm
Longman & Broderip
(square, 1790) = 169mm
Schantz (1790, 1805) = 160mm
Schmid (1794) = 158mm
Clementi (1805) = 163mm
Erard (Beethoven's
piano, 1803) = 162mm
Walter (1795) = 159mm
Walter (1803) = 153mm
Walter (1815) = 160mm
Streicher (1816) = 158mm
Kirckman (1820) = 162mm
Broadwood (Beethoven's
piano, 1817) = 166mm
Broadwood (1819) = 164mm
