In a message dated 4/7/00 5:55:25 PM Central Daylight Time, richardb@c2i.net (Richard Brekne) writes: << I love it... the more of this you all can dig up the better.. grin.. >> I think your premise is very sound, Richard. You will find plenty to support the use of A440 as a rigid pitch standard and virtually nothing with any credibility that supports any other pitch. You will only find anecdotal use of other pitches. Even the use of a cycle or two higher because it is believed that the orchestra's pitch drifts higher or because it is believed that some instrumentalists push the pitch in the upper registers does not justify using another pitch than 440. If the orchestra really does drift higher but listens to the A4 from the piano as its starting pitch, it will also drift higher from an initial 441, 442 or whatever pitch just as easily as it does from 440. So, nothing whatsoever is gained by starting from a higher pitch. The same goes for trying to match the piano with the orchestra's violin section. If the violins push the pitch in their upper registers, this is an incentive and reason to use more stretch in the piano's higher registers but not a reason to use a higher pitch at A4. Using a cycle or two higher pitch does not put a strain on vocalists. It is not enough difference to be a factor. It can, however be a problem with other instruments which are fixed pitched or which cannot have their pitch changed easily, notably the double reeds, the oboe and bassoon. Also, the oboe and bassoon won't be able to lower their pitch to 440 if their reeds are made to blow a higher pitch. So, if there is an orchestra who for whatever irrational reason uses a higher pitch, you may still have to do what they want even though you know that their reason and need for the different pitch is baseless and purely psychological. I'd like to point out as well that the issues of A4 at 440 and temperament are separate. You will not find the same kind of declarations supporting the use of Equal Temperament (ET) as you do for A-440. For some reason however, many people seem to think that the use of ET is so much assumed and implied, that it isn't even necessary to mention it. One thing that wanting a different pitch does demonstrate however, is that not everybody wants what is considered to be the standard or usual. Some believe that a higher pitch will make the music "brighter". If so, would it ever be appropriate to make *all* music "brighter"? If you wanted a more vibrant sound for Romantic music, for example, does the early music have to suffer in order to satisfy the Romantic and Modern? There are ways to satisfy these desires, at least when it comes to the tuning and preparation of the piano but there is much misunderstanding and many misguided attempts. Somehow, manipulating the temperament is just not seen as something that will benefit music. If the idea is even pondered, it is rejected before it is even tried as ground which should never be tread upon. Everyone already knows that only ET is acceptable and that anything else is just plain wrong. And here I haven't tuned a piano properly in some 11 years. Shame, shame. The only note I ever get right is the A4 and even that isn't what some people want. Now how do you suppose I could go around and make a living doing what I do wrong virtually all of the time? You have to do what you think is right or at least as close to it as you can get under the circumstances. Regards, Bill Bremmer RPT Madison, Wisconsin
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