[CAUT] FW: S&S Guidelines

[Fred Sturm]

On May 6, 2008, at 9:51 PM, Cy Shuster wrote:

> Re: [CAUT] FW: S&S GuidelinesWhat's the deal with this?  Bottom of  
> page 2: "Concert Instruments should be tuned to A-441 to more easily  
> address requests for pitch changes."
>
> Sure, it's a pitch raise up and back to go to 442, but do they  
> expect you to drop down from 441 just before a concert and pop it  
> back up, just in case someone wants 442, or do they want you to have  
> the thing four cents sharp all the time?
>
> --Cy--
> ABQ, NM
Hi Cy,
	They mean keep it at 441 as a substitute for 440. It's a practical  
matter from many points of view, and it has been fairly standard  
procedure among many if not most C & A techs to the best of my  
knowledge for quite some time. Do keep in mind we are talking about an  
instrument used primarily for concerto with orchestra. The reasoning  
is that
1) sharp will be more acceptable than flat
2) stage lights will make the instrument go flat
3) it is easier to accommodate requests for higher pitch
4) 441 is within the range an orchestra can accommodate/tune to
5)  concerti usually come after the first piece in the concert, so the  
winds will likely be warmer, hence going sharper, as opposed to the  
beginning when they might find it harder to tune a bit sharp

	Steinway folks are very practical. The absolute #1 priority for them  
in the realm of tuning is crystal clear unisons, and a rock solid  
tuning. Lots of other things can be compromised to varying degrees,  
but not unisons and stability. Hence, if pitch is off a bit, tune it  
where it is unless you happen to have extra time (and plan to have  
extra time if possible next time you see the instrument). Same with  
precision of temperament and other similar concerns. It is in this  
context that the recommendation of 441 should be taken. They want the  
instrument to contribute positively to the performance. If there is  
any noticeable drift in unisons, it will detract. Slight variance in  
pitch will be unnoticed except perhaps to a few members of the  
orchestra, far less important than the audience.
	I really liked Steve Carver's article on concert tuning in May's PTJ.  
It hit several points very well, including the one about minimizing  
pitch change (of individual strings as well as the piano as a whole),  
maintaining an established balance.
	Note that this 441 notion doesn't really apply to cauts very often  
(maybe to a larger hall that serves visiting ensembles), as we are  
mostly dealing with recital halls, and with instruments that are used  
in small ensemble, usually with one other instrument. In that  
circumstance, the soloist is far more sensitive to pitch. And our  
stage lights are less likely to be as extreme. And we are far less  
likely to need to accommodate visiting orchestras and artists  
requesting 442 or higher. Personally, I maintain both recital hall  
instruments within 1 cent of 440 at all times. I allow very minor  
float when I don't have time to correct it. Using an ETD, this is a  
pretty simple matter (though honing and nailing unisons is never  
really easy - no room for loss of focus).

Regards,
Fred Sturm
University of New Mexico
fssturm at unm.edu