A-440 Policy?

[Fred Sturm]

I agree with Charles: it's life in the music world, and we need to
adjust to it just as we need to adjust to severe humidity swings.
Several musicians of my acquaintance have played with (mostly European)
ensembles that tune to 442 - 445. Those who play wind instruments have
had to purchase different instruments or adapt (shorter barrel for
clarinets, shorter reed tubes for oboes, different elbows for brass,
etc.). So we need to realize that it isn't actually within normal tuning
range (the difference between 440 and other pitches), at least for
winds. 
	Frankly, I am puzzled that many consider the move up to 442 and back
equivalent to five tunings or more. Perhaps without the assistance of an
ETD (and, yes, I well remember the tremendous amount of work involved in
pitch change for a D, tuning aurally). But using pitch change function,
I find it not nearly that big a deal. Probably a one and a half hour
pitch raise and fine tuning, then a 45 minute return a day (or a few
hours) later, to get better stability and really fine unisons. Then a 1
1/2 hour pitch lower and fine tune has it ready for a fine tuning for
the next event at 440. So I'd call it three tunings, more or less. And
frankly less work than the first tuning after a summer of no events at
our larger venue (at the university, not under the music department but
run by a special events group).
	Absolutely, someone needs to pay for this - it doesn't come out of my
hide. But I am here to do what needs to be done. Though I certainly
agree it would be more convenient and sensible for all involved to
settle on one pitch and be done with it, I'm not going to war for the
absolute of A440. People being what they are, we are extraordinarily
lucky we mostly only have to deal with 440 - 442, with occasional 443 -
445. 
Fred Sturm
University of New Mexico

Charles K. Ball wrote:
> 
> Dear Avery & Others,
> 
-----

> These ensembles are not going to change because we disapprove; and if
> you become stubborn and force them to use another instrument, a
> rental for instance, you may lose the opportunity to do concert prep
> for top ensembles and the artists who perform with them.
> 
> Two points to ponder:  All professionals have to do routine tasks
> that are not really fun or satisfying, and, I believe, many of the
> most successful professionals are those who give a high priority to
> "customer service" (even when, or perhaps especially when, we think
> the customer is unreasonable or a jerk).
> 
> Regards,
> 
> Charles
> 
> Charles Ball, RPT
> School of Music
> University of Texas at Austin
> ckball@mail.utexas.edu