Re: Music Glossary - 1.64 Concert Pitch (2.12.2)

[Hans Aberg]

On 5 Apr 2009, at 20:48, <address@hidden> wrote:

> 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.

The definition "The pitch at which the piano and other non-transposing  
instruments play" is from Harvard Concise Dictionary of Music.

Merriam "Webster's Third International..." suggest concerts pitch can  
mean either tuning standards: "international pitch", from 1939 setting  
middle A = 440 Hz, or "philharmonic pitch", setting middle A = 450 Hz,  
of English origin.

It also defines "transposing instrument" as "a musical instrument that  
sounds pitches different from those indicated by notation".

Since "concert pitch" seems to be ambiguous, it might be better use  
the two terms "tuning pitch" and "not-transposing instrument" in the  
manual, with the glossary or index mentioning "concert pitch" so that  
those that search for it can find the other terms (just an idea).

> 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.

It has varied a lot in the past, but A = 440 Hz is also quite old:  
Harvard Concise mentions is used in 1834 by Scheibler (Stuttgart  
pitch). The Wikipedia also has some:
  
http://en.wikipedia.org/wiki/Pitch_(music)#History_of_pitch_standards_in_Western_music

> > 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.

I haven't checked all, but for adjusting intonation, some 20-30 cents  
would suffice. Flutes can do it, and brasses too.

> > 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.

Modern tuning machines like <http://www.veritune.com/> can measure the  
overtone spectrum, and do a number of compromises. Traditionally it  
happens naturally, as one typically tunes octaves and fifths, i.e.,  
partials 2 and 3, which then will be stretched.

> > 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.

I think it is orchestral clarinet plays that can learn to transpose on  
the fly, so that they need only one clarinet. Thus, a compose cannot  
be sure that a Bb clarinet is used, if if written so - the performer  
might use on in A. See Blatter, "Instrumentation/Orchestration..."

> 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.

You might check
  
http://en.wikipedia.org/wiki/Transposing_instrument#List_of_instruments_by_transposition
It does not mention the Garmon (type of accordion), though.

  Hans