442 & back

[Stéphane Collin]

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Hi, Isaac.

I submitted the question to Bosey & Hawkes, who bought Buffet-Crampon, =
Besson and other brands of Brass instruments.  Waiting for reply.

By the way, I would soon like to ask you some things about my =
Desfoug=E8res recovered hammers.  But I need to fine regulate my action =
before.

Always reading you with interest on PTG.

St=E9phane Collin
  ----- Original Message -----=20
  From: Isaac OLEG SIMANOT=20
  To: pianotech@ptg.org=20
  Sent: Wednesday, May 08, 2002 11:52 AM
  Subject: RE: 442 & back


  Hello Stephane, Thanks for your answer.

  Strangely, on the list some on my post are transparent !

  I was thinking of 442 as a base pitch for the actual brass instruments =
in Europ.

  Where is it possible to check that ?

  Regards.

  Isaac OLEG
    -----Message d'origine-----
    De : owner-pianotech@ptg.org [mailto:owner-pianotech@ptg.org]De la =
part de St=E9phane Collin
    Envoy=E9 : mercredi 8 mai 2002 11:39
    =C0 : pianotech@ptg.org
    Objet : Re: 442 & back


    Hello Isaac.

    I read in Wolfenden that the brass instruments in orchestras are =
tuned to A 440 Hz, but they all have this ennoying feature to =
dramatically raise pitch (up to A 444 Hz) during concert performance, =
through warming up when played.  So A 442 Hz would have been chosen to =
allow the whole performance (brass plus other more stable instruments) =
to be reasonably in tune, or, so to say, half less out of tune.
    Is it so ?  (Wolfenden is talking in beginning of this century, =
maybe brass instruments have evolved since then).

    Best regards,

    St=E9phane Collin
    (Brussels, Belgium)
      ----- Original Message -----=20
      From: Isaac OLEG SIMANOT=20
      To: pianotech@ptg.org=20
      Sent: Tuesday, May 07, 2002 10:15 PM
      Subject: RE: 442 & back


      Hello, Steve

      Even Yamaha pianos are build for the 442 pitch lately I guess,( =
I've read that on their guarantee card) so it will not affect structure =
of the piano anyway.

      The fact is that everyone (musicians) here is asking for "concert =
pitch" 442 as a standard.

      Then, having to change pitch any direction is always a hassle, =
when I have to do that for Radio France for example, I need to be =
allowed to bring the piano to his desired pitch 2 days before the event, =
so it can stabilize better. After that the pitch stay as it is since =
another express demand comes.

      On pianos with tensioned hammers, the difference in sound is =
sensible, and easily accepted by the instrument I believe, not that I =
don't like the 440 pitch, but I am more often dealing with 442, and get =
acquaintance with it.
      Beside, if I sing a A by memory it is the 440 that I learned in my =
younger days, and I am more close to it than to 442 (generally, I know =
David will not believe me, but I recognize any note instinctually, and =
have a good notion of A440 when not too tired)

      I wonder how high are your brass instruments tuned in USA ? Not =
that I am sure of that, but I believe that most brass and wind =
instruments in Europe are actually build to play at 442Hz .

      Any info from wind players ?

      All the best

      Isaac OLEG




        -----Message d'origine-----
        De : owner-pianotech@ptg.org [mailto:owner-pianotech@ptg.org]De =
la part de Steve Kabat
        Envoy=E9 : mardi 7 mai 2002 19:49
        =C0 : pianotech@ptg.org
        Objet : 442 & back


        David- Obviously some educating is in order, to try to instruct =
people who feel that a higher pitch is needed. Other than that , I =
would:=20
                a. refuse to tune at a higher pitch, citing structural =
piano reasons, tuning stability
                    etc.
                b.  insist that they give a few days lead time so that =
the piano can stabilize, and             refuse to do it if they dont.
                c. charge them a lot of money extra for all the hassle =
you have to endure so that         one group in a million can have pitch =
set 2 cycles per second higher. =20
                I'm sorry, but I have little tolerance for this coddling =
of artists who mistake pitch=20
                    for brilliance or timbre.  We as tuners need to =
educate them and insist on a=20
                    standard or else much much compensation for our =
trouble.  I had a group=20
                    from Germany come to my school - I think they wanted =
443 believe it or not,=20
                    and I broke the F# string above the bass/tenor break =
for my troubles.  Yes. it=20
                    does affect even a nine-foot concert grand.
                    steve kabat

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