Re: Music Glossary - 1.64 Concert Pitch (2.12.2)

[demery]

> I think a problem with those sections is that they mix several  
> different concepts in a jumble.

yes.

Dont have the OED handy, this library is very small and lacks a copy, but
the dictionary in my mac and the larger one from the shelf both give
narrow definitions for the entry 'concert pitch', eg, a=440,
internationally agreed on, the pitch at which orchestral instruments are
tuned.  Neither entry discussed the convention of transposed parts.

I suppose the 1960 ISO agreement has to be understood in context.  Also,
please note, ISO standards are not laws, just a formalized understanding
of how things can be done.  Just because there is a standard for what
means 'inch' and another for 'meter', nothing prevents me from working
with brunswicke inch when working with the drawings of Hioronymus
Praetorius from his Sytagma Musicum.

Yes, whatever meanings our documentation uses for the term 'Concert Pitch'
should be discussed in this entry.  I appologize for not realizeing my own
understanding of that term was narrow.

> Concert pitch is simply what the non-transposing instruments play,  
> when presented a notated note.

I now see two meanings.  First is the absolute pitch meaning, a concept
somewhat misleading for predating the early music movement.  Secondary
usage draws on the first meaning and contrasts the actual sounding pitch
with the notated pitch which differ for transposing instruments. 

FWIW, I recall a recent article in Early Music America (might be posted
online, they have a website) discussing the use of varying reference
pitches.

> Orchestras can adjust on the fly

well, they can try, some instruments will have more trouble than others. 
unfretted strings and brass have the most flexibility as they are always
challenged to play in any particular temperament.  Some winds can attempt
embouchure changes, the horn has his fist, but woodwinds trade off
alacrity when having to bend notes by alternate fingerings or embouchure. 
The crumhorn, serpent, and cornetto all have notorius flexibility.  Its
the continuo section where we find the least flexible instruments.

> Pianos are tuned with  
> scale stretch in order to compensate for inharmonicity. 

and how 'best' to do this is subjective, varying with each concert artist
and concert tuner.

> The transposing instruments play a pitch other than notated. 

true when the convention is followed.  As our trombone player has noted,
some players have to get used to multiple notations.  Viola and cello
players have to cope with floating c-clefs; Alto recorder players have to
work from g2 clefs, floating c clefs, and octave-below g clefs.   


I have a music engraving reference at home (Ross comes to mind as the
author) which gives a fairly complete list of transposing instruments,
will try to remember to bring it tomorrow.
-- 
Dana Emery