In 1711, the tuning fork was invented by a British musician named John Shore, a Sergeant Trumpeter to the court, who had parts specifically written for him by both George Frideric Handel and Henry Purcell.
The reason why they use the fork tuner in a fork shape is that it produces a very pure tone, with most of the vibration energy at the fundamental frequency, and little at the overtones (harmonics), as is not the case with other resonators. The frequency of the first overtone is about 52/22 = 25/4 = 6 ¼ times the fundamental (about 2 ½ octaves about it). By comparison, the first overtone of a vibrating string is only one octave above the fundamental. So when the fork is struck, small percentage of the energy goes into the overtone modes; they also vanish immediately, leaving the fundamental. Instruments are easy to tune in instruments with pure tone.
Another reason for using the fork shape is that, when it vibrates in its principal mode, the handle vibrates up and down as the prongs move apart and together. There is a node (point of no vibration) at the base of each prong. The handle motion is small, allowing the fork to be held by the handle without damping the vibration, but it allows the handle to transmit the vibration to a resonator (like the hollow rectangular box often used), which amplifies the sound of the fork. Without the resonator (which may be as simple as a table top to which the handle is pressed), the sound is very faint. The reason for this is that the sound waves produced by each fork prong are 180° out of phase with the other, so at a distance from the fork they interfere and largely cancel each other out. If a sound absorbing sheet is slid in between the prongs of a vibrating fork, reducing the waves reaching the ear from one prong, the volume heard will actually increase, due to a reduction of this cancellation.
Although commercial tuning forks are normally tuned to the correct pitch at the factory, they can be retuned by filing material off the prongs. Filing the ends of the prongs raises the pitch, while filing the inside of the base of the prongs lowers it.
Currently, the most common tuning fork sounds the note of A = 440 Hz, because this is the standard concert pitch, which is used as tuning note by some orchestras, it being the pitch of the violin's second string, the first string of the viola, and an octave above the first string of the cello, all played open. Tuning forks used by orchestras between 1750 and 1820 mostly had a frequency of A = 423.5 Hz, although there were many forks and many slightly different pitches. Standard tuning forks are available that vibrate at all the musical pitches within the central octave of the piano, and other pitches. Well-known manufacturers of tuning forks include Ragg and John Walker, both of Sheffield, England.
The pitch of a tuning fork can vary slightly with weathering and temperature. A decrease in frequency of one vibration in 21,000 for each °F change is typical for a steel tuning fork.The standard temperature is now 68 °F (20 °C) but 59 °F (15 °C) is an older standard. The pitches of a musical instrument such as an organ are also subject to variation with temperature change.