On 11/21/12 3:29 PM, Joseph Garrett wrote: > Oops! I did the same thing as you Dave! You jinxed me.<G> I'm glad to know I'm not the only one! Sorry bout that. But, as to 425, in the earlier instrument world 392, 415 and 430 are commonly accepted as standard pitches and winds and strings are constructed to that standard. This is purely a matter of convenience so chamber groups and orchestras can have common ground to work from. I have nothing against 425 as such but you may hit some resistance from performers if you spring it on them unawares. Hipkins/Helmholtz: 1828 Philharmonic Society A 440 1834 Vienna Opera A 436.5 1835 Wolfels piano maker A443 1836 Pleyel's Pianos A446 1846 Philharmonic pitch was A452.5 (very high) which lasted till 1854 1846 Mr Hipkins piano tuner (Meantone) A433.5 (Equal) A436.0 1849 Broadwood's medium pitch was A445.9 which lasted till 1854 1858 New Philharmonic pitch C522 1860 Cramer's piano makers of London A448.4 1862 Dresden Opera A 440 1871 Covent Garden Opera House A 440 1877 Collard's piano maker standard pitch was A 449.9 1877 St. Paul Cathedral organ A446.6 1877 Chappell Pianos A455.9 1877 Mr Hipkins piano tuner A448.8 1878 Her Majesty's Organ A436.1 1878 Vienna Opera A447 1879 Covent Garden Opera A450 1879 Erard's factory fork 455.3 1879 Steinway of England A 454. 1879 British Army regulation pitch for woodwinds A451.9 1880 Brinsmead, Broadwood, and Erard apparently used a pitch of A455.3 1880 Steinway may have been using a pitch of A436. According to Steinway of New York, 1880 is right around the time they switched from three piece rims to the continuous rim that is used today. So it is unlikely the pitch was any higher before 1880, yet Steinway of London had a fork A454.7. So in the period we are discussing 440 or better was common. I have actually tuned 1880's Broadwoods at 450 with very nice results, as long as no other instruments are involved. I have straight strung ideas as well to throw out, after the holidays! Best to all! -- Dave Doremus, RPT New Orleans
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