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Ric and list,
Musicians will try to play in tune with whatever is happening around =
them. That is an important part of being a musician. When the pitch is =
pushed up, one must make sure the instrument in use can go up with it. =
When someone has decided that the orchestra will tune to 442, that is =
what the musicians must do. I am a trombonist, and I've have had to =
shorten instruments in order to tune to a higher pitch. =20
When we consider temperament, a musician should be able to follow =
the intonation of the keyboard instrument in the ensemble. Granted, =
it's easier for strings and trombones, but everyone in the ensemble =
should be able to adjust pitches as necessary, no matter what the =
instrument. It is one thing that separates the players from the genuine =
musicians.
Playing with a tempered instrument introduces new rules of =
intonation into a situation, especially a solo with piano accompaniment. =
There is probably not as much to be considered in a modern orchestra =
due to the constant vibrato of the strings that produce what I would =
call an "average" pitch. The pitch of the tempered, fixed-pitch =
instrument is probably within the range of the vibrato of the strings.
Brilliance (brightness) can always be dialed into electronically =
produced, or reproduced, music, but live music is something else. The =
general attitude is that a higher pitch allows for more brilliance. =
This was apparently believed by Leonard Bernstein, who is credited by =
many with having a major role in the upward trend of orchestral pitch.=20
Mike Keener
------------------------------
<<Date: Fri, 29 Oct 1999 22:08:08 -0500
>From: "Richard Moody" <remoody@easnet.net>
>Subject: Re: Baroque Festival
>
>The other consideration that seems seldom considered is that the
>HT's are done from C as the starting note. I know it can be
>figured to make a' come out to 442 or 440. But you can
<imagine the hassel of one temp having a different pitch for C
<(c'') than another. The other consideration is what about the
<other instruments of fixed pitch, oboe, flute, bassoon,
<clarinet, etc. are they build for ET, or just diatonic? It
<would be interesting to have a "gab" session with a symphony
<orchestra to hear about problems of intonation when playing with
<tempered instruments, and discuss the problems of tuning pianos to
<other than an international fixed pitch, which should be A440.=20
<Some where some time someone must answer the question,=20
<why go higher with International Pitch? If not it will go to 445, and I
<have heard some European orchestras are already attempting this.
<I hear of singers objecting to 442. I know many reasons as a
<piano tuner to keep A440. I am sure piano manufacturers would
<like to preserve A440.=20
<And what are the reasons to go higher. "Brilliance". ? ? =20
<Why they think pitch has something to with this is beyond me.=20
<They have pianos with hardner in the hammers. They have horns I
<am told with space age designed mouth pieces to get a brighter
<tone. Cymbals have become brighter through modern technology.
<Modern buildings can be designed accoustically "brighter". CDs
<now with walkman type head phones "that make the inside of your
<head sound like you wish Davies hall did.".(Herb Caen) give a
<new dimension with a wider range of "eq" ie more "higher end"
<ie brightness. Solid state electronics have given loudspeaker
<music an extra bite of brilliance. And they want more? And
<somehow they think that will come from raising pitch??
<They must have tin ears.---ric>>
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