Re: Music Glossary - 1.64 Concert Pitch (2.12.2)

[demery]

On Sat, Apr 4, 2009, "Anthony W. Youngman"
<address@hidden> said:

> Okay, I think I can modify this to a definitive version now ...

sorry for my tactless reply earlier, I should have checked the present
text rather than assume you were quoting it.

>>>1.64 concert pitch
>>>
>>>The pitch at which the piano and other non-transposing instruments 
>>>play

the concept of transposing instruments is irrelevant to this entry and
should be left in its entirety to 1.311

I think it is both sufficient and correct to state

   A convention for tuning the instruments of the orchestra.

>>> Officially, it is defined

by whom? wiki?  I suspect there is a cartel of instrument makers who have
established the standard for what they will manufacture, but they have no
say over how their products will be [ab]used.  Each orchestra has an
understanding with its players, their union(s), and guest performers.  For
some it is A=440, others 443,444,445...  Some Early music ensembles
perform at other reference pitches for a variety of reasons we needed
elaborate on (A=395, 415, 435, 460..) but should mention.

>>>as "A = 440", meaning that the note A 
>>>in the treble clef indicates a sound
>>>that has a frequency of 440Hz. 

have we established a standard for pitch notation?  A4 is what we are
discussing here.

>>>There are other standard frequencies, 
>>>but they have mostly fallen into disuse.

HAH!!  tell that to the academy of ancient music.  Clients of our software
are playing in some of those ensembles!

>>>Instruments with a single sounding part (woodwind, brass) follow a 
>>>different convention

just one?

> Or we can 
> simply point people at the Wikipedia entry for "concert pitch", 

wiki is a moving target of varying quality, this topic is not evolving so
fast that we cant maintain, and we should be self-contained.

 
>>>1.311 transposing instrument
>>>
>>>Instruments whose notated pitch is different from concert pitch.

mmm, better might be to begin with the reason for the convention.
-=-=-=-=
  Many of the instruments of the orchestra are available in different
sizes, each with a differrent fundamental pitch; we speak of them
collectivly as a family, and the fundamental pitch is nominative, eg, a
Trumpet in Bb, a Horn in F, a C Clarinet.  An experienced player with
skill on one size of instrument can often play the others with similar
skill, but is challenged to read for each of several instruments. 

One solution is the convention of transposed parts.  One instrument of
each family is taken as reference, all music for it is written at the
sounding pitch.  Music for other members of its family is written at a
transposed pitch, so that when played as if it was the reference
instrument, the notes produced will be as the composer intended, and the
musician needs no change in reading skills.  As an example, C Clarinets
use music written at pitch.  Music for a Bb Clarinet is written transposed
up by a second so that the note read (and fingered) as 'C' will actually
play as the 'Bb' the composer wanted.
-=-=-=

been a while since I read a list of which instruments employ transposed
parts, maybe just simply list em and leave it at that.

> the note whose wavelength is equal to the length 

the mathematical design of instruments is way beyond scope.  The stuff of
multiple doctoral dissertations when done up properly.  End corections and
all that.  those who doubt me can go look up some of the literature -
Benades several tomes of course, but also Cornelius J Nederveen,
_Accoustical Aspects of Woodwind Instruments_ rev ed ISBN-13:
9780875805771.
-- 
Dana Emery