On 5 Apr 2009, at 20:48, <dem...@suffolk.lib.ny.us> 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
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