Klarinet Archive - Posting 000736.txt from 1996/02

From: Tom Labadorf <Labadorf@-----.COM>
Subj: Re: Pitch vs Temperature
Date: Sat, 24 Feb 1996 18:21:56 -0500

The recent postings between Ed Lacy and David Niethamer answered most my
questions posed to David N. about tuning standard. Sorry that my message was
a little late on the uptake. (I downloaded this message just after uploading
my first.)

Ed Lacy states in his message:
-----(snip)
I think it was only in the 1930's that an organization called the
International Bureau of Standards (or something like that) tried to bring
some order to the chaotic system of tuning which existed previously. They
decided that 440 was a good standard to use, and a compromise between the
various pitches then in use.
------(snip)

I don't doubt this at all, but a question immediately popped up:

What did wind instrument makers do amongst this tuning chaos before the
International Bureau of Standards? And how did this chaotic tuning standard
effect chamber music involving the piano? It would seem to me that there
must have been an agreed upon standard just for the instrument makers,
otherwise they would be making instruments specific for each performing group
and tuning whim.

-----(snip again from Ed Lacy's message)
But, whenever a pitch is chosen, the string players in an orchestra want to
tune a little higher, because they think it makes their instruments sound
brighter. But then, the winds have to tune a little higher in order to match
the strings, who then want to tune a little higher still, because their
instruments no longer sound as bright within the texture as they had
previously. And, higher and higher temperatures on the stage exacerbate the
problem for winds, making them go sharper still.

The only solution I can see is to pick a certain standard and stick to it.
Since the 440 standard exists, I can see no reason to use any other one.
-----
Exactly! I know a fine clarinetist who frequently "rides" the upper edge of
the pitch center around him on purpose. When confronted, he says he would
rather play sharp than flat, and playing just slightly above will add a
brightness to his tone. Why choose between sharp and flat? What's the
problem with playing in tune!? (sarcasm)

Tom L.
Clarinetist, U. S. Coast Guard Band
Labadorf@-----.com

   
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