A440 VS A442

[Don]

Hi Ron,

I agree about the instability.

There are many ears that can hear the difference between A440 and A442.
Many string players can hit A440 "dead on" without any external pitch
reference.

Apparently the information about woodwinds and other instruments needing to
be designed to work at A442 has not been presented to the Association in a
manner which they can appreciate. Think about an uneven temperament where
the player must adjust the pitch to fit. If the instrument has to play at
A440 then the perfomer of one designed for A442 is at a very great
disadvantage.

The Association should simply charge back the extra tuning costs involved
to the group that requests A442, rather than taking an aggressive position
by altering the contract without discussion with the touring group.

Perhaps you should have spoken in Czechlovakian to the conductor? Oh--I
forgot--you don't speak anything other than English fluently. Too bad.

At 10:52 PM 1/25/2006 -0500, you wrote:
> Hi Friends
>
>This would not be a problem with the exception that every time we have to 
>tune the piano 442 it requires being tuned again to 440 after the concerts.
>The piano is then rather unstable for a while.
>
>I have suggested that there isn't an ear in the world that can hear the 
>difference between 440 and 442 and that the  Symphonic Association should 
>just send back the contract with the 442 crossed out and 440 put in it;s 
>place. We have done that this year with no problem, however, several of our 
>very fine local artist  and customers which are involved with the
association 
>are concerned that it will come back to bite us. I have had times in my past 
>when a stage manager or other representative of the artists/orchestra would 
>check the pitch to make sure it was 442.
>
>To back up my argument, Last year we had the Prague Symphony  with an 
>outstanding artist. Along with the usual symphonic program they performed a 
>Beethoven Concerto.I went up, as usual, prior to the concert to check on the 
>piano which I had tuned to A442 as requested. I asked the conductor, "why
the 
>442" to which I got all kinds of broken english replies and concerns about 
>the piano having to be at 442 because of the woodwinds and stringed 
>instruments, etc.,etc.,etc..  Then the 1st violinist came rushing up all 
>concerned about my question and in a huff demanding that the piano had to be 
>442. I calmed them down and told them that they could rest easy because the 
>piano was at 442. I was just curious as to why.
>
>After a few numbers, It came time for the concert artist to come forth for 
>the piano concerto.  The 1st violinist walked over to the piano. She struck 
>an A major chord, walked away from the piano and probably 5-10 seconds later 
>strummed what she thought was , I suppose, A442.  The artist came forth, the 
>concerto began and I sat there with shiivers going up and down my spine as I 
>listened to a piano at A442 and a orchestra closer to 430 if that.
>
>Do any of you other concert tuners have similar problems,experiences or 
>suggestions? So far we have had no problem with the season at 440 but as I 
>mentioned before, there are those local excellent artists that are concerned.
>
>I know that A442 is popular in other parts of the world. Steinway, Hamburg 
>stipulates 442 in their specifications. I also understand that some 
>instruments such as clairnets, etc are manufactured at 442.  Is it time to 
>change this standard and tune our pianos to 442?
>
>Thank you for your thoughts and input.
>
>Ron May, RPT

Regards,
Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T.
Non calor sed umor est qui nobis incommodat

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