A 440 Hz Standard

[Otto Keyes]

Here in the Idaho Outback we have little worries of a major orchestra
arriving on our door-step demanding A-442+.  Our visitors are generally
soloists & small chamber groups, so it is easier to maintain a standard
under these circumstances.  Battling over 440 against a visiting
high-profile orchestra would be counter-productive -- somewhat akin to
throwing a match in the lake to dry it up.

However, the economic issues still remain, & must be addressed -- sooner
than later! -- so a policy is in place when the occasion arises.  The other
issues I mentioned need to be part of that discussion as well, because they
also have an economic & emotional root.  A rigid policy will only end up
breaking (it or something else), but a well-thought-out policy gives the
framwork in which to negotiate.  On a recent recital series here, the issue
of the D plate strut was anticipated and discussed in-house.  The consensus
was not to remove it, but provide another piano should that be insisted
upon.  We then contacted the group's agent and asked that specific question.
A few days later the agent replied that it would not need to be removed, so
we left the D in place.  Of course, the first thing the performer asked (on
the day of the recital) was if the strut could be removed, whereupon I
mentioned the steps we had taken, reply received, etc., and that, while we
had made earlier provisions for a substitute instrument, it was too late to
move another piano in for the performance.  He was very understanding & the
performance went off without a problem.  A less amiable personality could
have made things very uncomfortable.

I was going to mention in my original post the issue that Alan raised, but
string players tend to be rather sensitive on this issue.  However, now that
we can safely blame it on him for bringing it up....  :-)

Alan wrote:
>However, from experience, many string and wind players as well as entire
orchestras, drift more than we would consider acceptable anyway.

If you listen carefully, you will notice that often string players will get
progressively sharper as they move through a peice -- especially if it is
going well and it is an exciting peice.  This is less likely with very good,
experienced musicians, but it is a general tendency.  (Perhaps this is one
of the reasons for the trend toward over-stretching in tuning.)  Tuning at a
higher pitch only exacerbates the problem.

I suspect the perceived "brilliance" is equated with a greater emotional
response from the audience, since it seems to have this effect on the
players themselves.  The shift toward higher pitch is much more than a
technological one (stronger plates, better strings, etc.)  It has also been
attended by a philosophical shift, which could be the subject for a very
interesting discussion indeed.

However, for this discussion,  $$$  are what generally make it to the bottom
line.  The issues need to be discussed so everything is on the table.  These
are the consequences & costs. ----  This is who will have to pay.

Otto


----- Original Message ----- From: "Gary Mushlin" <gmushlin@mindspring.com>
To: "College and University Technicians" <caut@ptg.org> Sent: Tuesday, April
13, 2004 6:10 AM Subject: Re: A 440 Hz Standard


Otto and list,

These are excellent reasons not to keep changing pitch on a piano. I use
these same reasons when asked to change pitch. Then I let the party involved
decide what to do.

There have been many good solutions to this problem offered on this list.
That includes offering the pitch change and any extra work involved for an
extra fee or providing another piano - either one you have or a rental to be
paid for by the visiting group (or whoever is willing to pay).

My opinion is that insisting everybody use A-440 is not a good battle for a
piano technician to fight out in the field. Our time and effort is probably
better spent on other problems. Also, I think insisting that a visiting
group change their pitch to match A-440 just because that is the official
standard is not the best solution to the problem.

Sincerely, Gary Mushlin, RPT



On Monday, April 12, 2004, at 05:07  PM, Otto Keyes wrote:

Why be tossed to and fro on the waves of acoustic relativism? Wherever I
have gone, we have discussed the issues thoroughly and come up with numerous
solid reasons to maintain A-440:  pitch instability, creation of false
beats, risk of breaking strings, added expense of pitch-raise & lower, plus
subsequent stabilization problems mentioned before, though generally
imperceptible, damper function may suffer on wound strings with older felts
(this may be a stretch, but is theoretically possible).  Numerous other
things could be added to the list, all of which have a price tag attached in
the long haul.

Given the budget issues most institutions/venues face, this approach
(list delivered in non-threatening, but solemn tones) will usually have the
desired effect.  Monetary issues are potent persuaders, as well as matters
which may have a direct effect on subsequent performances, ie:  "While we
may be able to get this thing stable by then, your (or your star pupil's)
recital is X hours/days away.  Do you want to risk that for the sake of one
performer's one-night-stand in a venue, on a piano, you have to live with
over the long haul?"  This puts things in a personal light, & the consensus
usually developes pretty quickly.  Even the strong-willed head of a
department will usually see the light when faced with the prospect of mutiny
from his/her underlings who see their success and credibility threatened. If
the tech. cannot be sure of the stability of the instrument, it can produce
great anxiety in the performer, & that's the last thing they need to worry
about on the eve of a performance.  The vast majority of the world still
tunes to 440.  Those who tour should be able to adjust to this fact, not
vice versa.

Otto

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