417:
409:
712:, and most oboists use an electronic tuning device when playing the tuning note. Some orchestras tune using an electronic tone generator. When playing with fixed-pitch instruments such as the piano, the orchestra will generally tune to them—a piano will normally have been tuned to the orchestra's normal pitch. Overall, it is thought that the general trend since the middle of the 20th century has been for standard pitch to rise, though it has been rising far more slowly than it has in the past. Some orchestras like the
433:
118:
20:
472:(this international pitch is not the 1939 "international standard pitch" described below). An 1885 conference in Vienna established this standard in Italy, Austria, Hungary, Russia, Prussia, Saxony, Sweden and Württemberg. This was included as "Convention of 16 and 19 November 1885 regarding the establishment of a concert pitch" in the
630:
tuning standard of A = 439 Hz at 68 °F (20 °C), while "high pitch" was used for the older tuning of A = 452.4 Hz at 60 °F (16 °C). Although the larger London orchestras were quick to conform to the new low pitch, provincial orchestras continued using the high pitch until
863:
Still another fork has acquired what may be more authority than it deserves. Pascal Taskin, harpsichord-maker and tuner to the French Court, owned in 1783 a fork that had been tuned to the oboe of
Antoine Sallentin, of the Opera and Chapelle du Roi. Whether Sallentin played the same oboe both in the
194:
Until the 19th century there was no coordinated effort to standardize musical pitch, and the levels across Europe varied widely. Pitches varied over time, from place to place, and even within the same city. The pitch used for an
English cathedral organ in the 17th century, for example, could be as
723:
have agreed on a standard of A = 415 Hz. An exact equal-tempered semitone lower than 440 Hz would be 415.305 Hz, though this is rounded to the nearest integer for simplicity and convenience. In principle this allows for playing along with modern fixed-pitch instruments if
1447:
326:
When instrumental music has risen in prominence (relative to vocal music), there has been a consistent tendency for pitch standards to rise. This led to reform efforts on at least two occasions. At the beginning of the 17th century,
100:. The term "concert pitch" is used to refer to the pitch on a non-transposing instrument, to distinguish it from the transposing instrument's written note. The clarinet or trumpet's written C is thus referred to as "concert B
210:
were tuned, the pitch of a single organ could even vary over time. Generally, the end of an organ pipe would be tapped with a cone tuning tool to curve it inwards to raise the pitch, or outwards to lower it.
299:
had made a rough determination of sound frequencies as early as the 17th century, such measurements did not become scientifically accurate until the 19th century, beginning with the work of German physicist
529:
492:
226:
258:
685:
448:
392:
285:
273:
238:
517:
444:
Rising pitch put a strain on singers' voices and, largely due to their protests, the French government passed a law on
February 16, 1859 setting the A above middle C at 435 Hz,
343:
players were complaining of snapped strings. The standard voice ranges he cites show that the pitch level of his time, at least in the part of
Germany where he lived, was at least a
662:
recommended C264 (A440) as the standard pitch based on
Scheibler's studies with his Tonometer. For this reason A440 has been referred to as Stuttgart pitch or Scheibler pitch.
545:). This never received the same official recognition as the French A = 435 Hz and has not been widely used. This tuning has been promoted unsuccessfully by the
659:
1075:
347:
higher than today's. Solutions to this problem were sporadic and local, but generally involved the establishment of separate standards for voice and organ (German:
1331:
670:
59:
635:
continue to use an even sharper tuning, around A = 470–480 Hz, over a semitone higher than A440. As a result, bagpipes are often perceived as playing in B
876:
724:
their parts are transposed down a semitone. It is, however, common performance practice, especially in the German
Baroque idiom, to tune certain works to
607:
in 1895 (and retuning of the organ to A = 435.5 at 15 °C (59 °F), to be in tune with A = 439 in a heated hall) caused the
384:
tuning fork sounds at A = 423 Hz, an 1822 fork gives A = 432 Hz, and an 1855 fork gives A = 449 Hz. At
440:
New Wonder Series 2 alto saxophone marked 'H' for 'High Pitch' (A=456 Hertz). Saxophones tuned to A=440 Hz would be marked 'L', 'LP' or 'Low Pitch'
1538:
693:, but this was superseded by A = 440 Hz, possibly because 439 Hz was difficult to reproduce in a laboratory since 439 is a
561:
had proposed a slight lowering of the French tuning system. However, the
Schiller Institute's recommended tuning for A of 432 Hz uses the
1293:
1024:
993:
803:
218:
was invented in 1711, enabling the calibration of pitch, although there was still variation. For example, a 1740 tuning fork associated with
572:
standard of about A = 452 Hz (different sources quote slightly different values), replaced in 1896 by the considerably lower
295:
The frequencies referred to here are based on modern measurements and would not have been precisely known to musicians of the day. Although
136:
733:
Orchestras in Cuba typically use A436 as the pitch so that strings, which are difficult to obtain, last longer. In 2015 American pianist
373:, the singers and instrumentalists might use music written in different keys. This kept pitch inflation at bay for some two centuries.
864:
Opera and in the
Chapelle is not known-nor whether Taskin tuned any or all of his instruments to this fork, whose pitch was a1 = 409.
753:, related to specious claims of healing properties from 432 Hz pitch, or involving Nazis having favored the 440 Hz tuning.
135:
1396:
1229:
1145:
966:
939:
907:
983:
681:
is due to confusion over the temperature at which the French standard should be measured. The initial standard was A =
421:
376:
Concert pitch rose further in the 19th century, evidenced by tuning forks of that era in France. The pipe organ tuning fork in
1219:
745:
Particularly in the beginning of the 21st century, many websites and online videos have been published arguing for the
1335:
1531:
1249:. Aldershot, Hants; Burlington, VT: Ashgate Publishing Limited (UK); Ashgate Publishing Company (US). pp. 62–63.
416:
182:
Historically, various standards have been used to fix the pitch of notes at certain frequencies. Various systems of
1127:
627:
608:
730:, approximately a semitone higher than 440 Hz (460–470 Hz) (e.g., Pre-Leipzig period cantatas of Bach).
1602:
577:
269:
Towards the end of the 18th century there was an overall tendency for the A above middle C to be in the range of
1135:
665:
In 1939 an international conference recommended that the A above middle C be tuned to 440 Hz, now known as
408:
1582:
1722:
1524:
1421:
642:
632:
127:
78:
749:– often referred to as "Verdi pitch" – instead of the predominant 440 Hz. These claims also include
1592:
1570:
1010:
432:
377:
157:
63:
1048:
473:
247:
541:
tuning. The appeal of this system is its mathematical idealism (the frequencies of all the Cs being
460:. It became a popular pitch standard outside France as well, and has been known at various times as
1452:
713:
200:
1500:
1260:
1105:
1069:
734:
716:
now use a slightly lower pitch (443 Hz) than their highest previous standard (445 Hz).
581:
562:
550:
328:
47:
1669:
412:
A circa 1932 Boosey & Hawkes 'Model 32' alto saxophone stamped 'LP' for Low Pitch (A=440 Hz)
1628:
1474:
1392:
1289:
1225:
1174:
1141:
1101:
1020:
989:
962:
935:
903:
854:
799:
750:
546:
538:
305:
1360:
1014:
956:
929:
335:
that pitch levels had become so high that singers were experiencing severe throat strain and
1684:
1664:
846:
746:
737:
brought attention to this issue and later traveled to Cuba with strings donated by friends.
509:
301:
55:
631:
at least the 1920s, and most brass bands were still using the high pitch in the mid-1960s.
1587:
1448:"A Brooklyn pianist who can't speak Spanish brings a Cuban orchestra to the United States"
1356:
880:
770:
251:
596:
456:. This was the first attempt to standardize pitch on such a scale, and was known as the
1679:
1633:
1618:
1131:
896:
616:
558:
425:
315:
183:
51:
1716:
1648:
1643:
1551:
720:
207:
43:
1696:
1638:
1623:
694:
542:
1315:"A brief history of the establishment of international standard pitch a=440 hertz"
1314:
705:
The most common standard around the world is currently A = 440 Hz.
174:
of 440 Hz. Historically, this A has been tuned to a variety of different pitches.
81:
do not match those of non-transposing instruments. For example, a written C on a B
134:
1701:
1597:
612:
588:
477:
381:
344:
215:
565:
ratio of 27:16, rather than the logarithmic ratio of equal temperament tuning.
1691:
1674:
1577:
592:
148:
1411:
Oxford
Composer Companion JS Bach, pp. 369–372. Oxford University Press, 1999
1178:
858:
819:
186:
have also been used to determine the relative frequency of notes in a scale.
1547:
655:
604:
437:
19:
369:'chamber tone'). Where the two were combined, as for example in a
1422:"Simone Dinnerstein on a Trip to Cuba and Making Music out of Difficulty"
1365:
568:
British attempts at standardization in the 19th century gave rise to the
485:
385:
296:
196:
167:
87:
71:
1162:
370:
91:
1516:
834:
595:
Festival pitch was lowered and the organ retuned at that time. At the
1475:"The great 440 Hz conspiracy, and why all of our music is wrong"
674:
584:
219:
850:
576:
of A = 439 Hz. The high pitch was maintained by Sir
525:(that is, 2 Hz), which places the A above it at approximately
308:(CPS). During the 20th century this term was gradually replaced by
431:
415:
407:
310:
67:
18:
1224:(second ed.). Cambridge: The University Press. p. 263.
898:
Syntagma
Musicum: Parts I and II. De Organographia. II, Parts 1–2
74:. Frequencies of other notes are defined relative to this pitch.
709:
340:
336:
1520:
1425:
651:
brass instruments when the two are required to play together.
171:
719:
Many modern ensembles which specialize in the performance of
708:
In practice most orchestras tune to a note given out by the
116:
1247:
The Modern Brass Band: From The 1930s to the New Millennium
246:
about a quarter-tone lower. A tuning fork that belonged to
587:
Festivals, causing the withdrawal of the principal tenor
358:'choir tone') and for chamber ensembles (German:
1016:
Cultural Law: International, Comparative, and Indigenous
928:
Nicholas Thistlethwaite; Geoffrey Webber, eds. (1999).
234:
while a specimen from 1780 is pitched at A =
1221:
Sound: An Elementary Textbook for Schools and Colleges
1501:"The '432 Hz vs. 440 Hz' conspiracy theory"
835:"Pitch in Western Music since 1500. A Re-Examination"
958:
The Historical Performance of Music: An Introduction
1657:
1611:
1558:
1261:"The Pitch and Scale of the Great Highland Bagpipe"
660:
Society of German Natural Scientists and Physicians
1009:Nafziger, James A. R.; Paterson, Robert Kirkwood;
895:
669:. This was adopted as a technical standard by the
58:to ensemble, and has varied widely over time. The
1332:"Why does the orchestra always tune to the oboe?"
923:
921:
919:
1102:"For a Verdi Opera in the Verdi Tuning in 2001"
54:for a performance. Concert pitch may vary from
671:International Organization for Standardization
626:was used from 1896 onward to refer to the new
611:and others (including the Bach Choir, and the
388:in Milan the A above middle C rose as high as
16:Reference point for tuning musical instruments
1532:
1308:
1306:
796:History of Performing Pitch: The Story of "A"
8:
1208:(Gollancz, London 1938) Chapters XIV and XV.
725:
641:despite being notated in A (as if they were
1193:The Life of Sims Reeves, written by himself
1161:Lloyd, Llewelyn S.; Fould, Achille (1949).
1074:: CS1 maint: numeric names: authors list (
591:in 1877, though at singers' insistence the
364:
353:
178:History of pitch standards in Western music
1539:
1525:
1517:
1140:. Cambridge University Press. p. 17.
1019:. Cambridge University Press. p. 95.
961:. Cambridge University Press. p. 86.
934:. Cambridge University Press. p. 81.
673:in 1955 and reaffirmed by them in 1975 as
645:in D-flat), and are often tuned to match B
619:concerts) to adopt the continental pitch.
94:sounds as a non-transposing instrument's B
1195:(Simpkin Marshall, London 1888), 242–252.
988:. Harvard University Press. p. 491.
62:defines international standard pitch as
1391:. Oxford University Press. p. 57.
762:
503:An alternative pitch standard known as
304:in the 1830s. Frequency is measured in
1334:. Rockfordsymphony.com. Archived from
1163:"International Standard Musical Pitch"
1067:
677:. The difference between this and the
146:
1089:Funk & Wagnalls New Encyclopedia.
7:
1167:Journal of the Royal Society of Arts
955:Colin Lawson; Robin Stowell (1999).
931:The Cambridge Companion to the Organ
599:in London, the establishment of the
199:lower than that used for a domestic
747:adoption of the 432 Hz tuning
380:from 1795 is 390 Hz, an 1810
14:
1361:"Der Zauber des perfekten Klangs"
428:marked 'High Pitch' (A=456 Hertz)
1064:– via Library of Congress.
404:19th- and 20th-century standards
266:, well over a half-tone higher.
147:Problems playing this file? See
132:
70:as the frequency of the A above
820:"Pitch, temperament and timbre"
741:Controversial claims for 432 Hz
254:, is pitched at A =
46:reference to which a group of
1:
1218:John Walton Capstick (1922).
771:"Concert Pitch Transposition"
476:in 1919 which formally ended
331:reported in his encyclopedic
110:Modern standard concert pitch
1446:Edgers, Geoff (2017-06-11).
222:is pitched at A =
1473:Cross, Alan (13 May 2018).
1286:The Theory of Sound, Vol. I
894:Michael Praetorius (1991).
29:clarinet sounds a concert B
1741:
609:Royal Philharmonic Society
155:
1603:Scientific pitch notation
1284:Rayleigh, J.W.S. (1945).
1091:Funk & Wagnalls, 1983
982:Holoman, D. Kern (1989).
877:"Beethoven's tuning fork"
1583:Helmholtz pitch notation
250:around 1800, now in the
77:The written pitches for
23:A written C, top, on a B
1387:Albert R. Rice (1992).
833:Mendel, Arthur (1978).
701:Current concert pitches
643:transposing instruments
557:since Italian composer
79:transposing instruments
1011:Renteln, Alison Dundes
726:
574:new philharmonic pitch
570:old philharmonic pitch
441:
429:
413:
359:
348:
172:international standard
121:
36:
1593:Piano key frequencies
794:Bruce Haynes (2002).
488:being tuned at about
435:
419:
411:
158:A440 (pitch standard)
120:
22:
1389:The Baroque Clarinet
1359:(23 December 2002).
1288:. Dover. p. 9.
1245:Roy Newsome (2006).
1050:Treaty of Versailles
628:Philharmonic Society
622:In England the term
474:Treaty of Versailles
248:Ludwig van Beethoven
170:is often set at the
1453:The Washington Post
1300:reprint of 1894 ed.
902:. Clarendon Press.
822:. Dolmetsch Online.
798:. Scarecrow Press.
751:conspiracy theories
714:Berlin Philharmonic
633:Highland pipe bands
470:international pitch
206:Because of the way
201:keyboard instrument
48:musical instruments
1106:Schiller Institute
1047:Article 282 (22).
735:Simone Dinnerstein
658:Conference of the
605:Promenade Concerts
551:Schiller Institute
513:fixes middle C at
442:
430:
414:
329:Michael Praetorius
203:in the same city.
122:
37:
1710:
1709:
1629:Pitch circularity
1295:978-0-486-60292-9
1026:978-0-521-86550-0
995:978-0-674-06778-3
839:Acta Musicologica
805:978-0-8108-4185-7
547:LaRouche movement
539:equal temperament
466:continental pitch
378:Versailles Chapel
368:
357:
314:(Hz) in honor of
306:cycles per second
137:
1730:
1665:Electronic tuner
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1206:My Life of Music
1202:
1196:
1191:J. Sims Reeves,
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883:. 28 March 2017.
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536:
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510:scientific pitch
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355:
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333:Syntagma musicum
302:Johann Scheibler
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190:Pre-19th century
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28:
27:
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1670:Mersenne's laws
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1588:Letter notation
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1499:Marian, Jakub.
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1357:Emanuel Eckardt
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1313:Lynn Cavanagh.
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881:British Library
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679:diapason normal
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601:diapason normal
553:under the name
530:
528:
527:
526:
518:
516:
515:
514:
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491:
490:
489:
482:diapason normal
458:diapason normal
449:
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445:
406:
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324:
322:Pitch inflation
286:
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252:British Library
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1680:Musical tuning
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1646:
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1636:
1634:Relative pitch
1631:
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1619:Absolute pitch
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1265:publish.uwo.ca
1252:
1237:
1230:
1210:
1197:
1184:
1153:
1146:
1137:Verdi: Requiem
1132:Julian Rushton
1119:
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851:10.2307/932288
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811:
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786:
775:bandnotes.info
761:
760:
758:
755:
742:
739:
702:
699:
617:Arthur Nikisch
582:Crystal Palace
559:Giuseppe Verdi
531:430.54 Hz
494:258.65 Hz
426:alto saxophone
405:
402:
323:
320:
316:Heinrich Hertz
228:422.5 Hz,
191:
188:
184:musical tuning
179:
176:
156:Main article:
144:
131:
126:
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115:
114:
113:
111:
108:
66:, setting 440
15:
13:
10:
9:
6:
4:
3:
2:
1736:
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1723:Pitch (music)
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1649:Virtual pitch
1647:
1645:
1644:Tone deafness
1642:
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1622:
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40:Concert pitch
21:
1697:Savart wheel
1639:Tonal memory
1624:Ear training
1565:
1504:. Retrieved
1494:
1482:. Retrieved
1478:
1468:
1457:. Retrieved
1451:
1441:
1430:. Retrieved
1428:. 2015-07-03
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1371:. Retrieved
1364:
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1340:. Retrieved
1336:the original
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1268:. Retrieved
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1173:(4810): 85.
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1128:Rosen, David
1122:
1110:. Retrieved
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718:
707:
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695:prime number
678:
666:
664:
654:In 1834 the
653:
623:
621:
600:
597:Queen's Hall
573:
569:
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555:Verdi tuning
554:
508:
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484:resulted in
481:
469:
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462:French pitch
461:
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332:
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287:450 Hz.
268:
240:409 Hz,
213:
205:
193:
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76:
39:
38:
1702:Tuning fork
1598:Pitch class
1479:Global News
1369:(in German)
1204:H.J. Wood,
845:(1/2): 82.
687:439 Hz
613:Felix Mottl
589:Sims Reeves
563:Pythagorean
519:256 Hz
478:World War I
450:435 Hz
394:451 Hz
382:Paris Opera
345:minor third
216:tuning fork
128:440 Hz
1692:Pitch pipe
1675:Microtuner
1612:Perception
1578:Enharmonic
1506:2020-02-22
1459:2018-03-13
1432:2018-10-11
1373:2018-10-11
1342:2021-05-23
1270:2017-04-09
780:2021-02-17
757:References
593:Birmingham
149:media help
1548:Frequency
1179:0035-9114
1112:April 21,
1070:cite book
1060:8 January
1032:8 January
859:0001-6241
656:Stuttgart
624:low pitch
424:Truetone
360:Kammerton
337:lutenists
197:semitones
35:, bottom.
1717:Category
1658:See also
1559:Notation
1366:Die Zeit
1130:(1995).
1013:(2010).
648:♭
638:♭
603:for the
580:for the
486:middle C
422:Buescher
386:La Scala
297:Mersenne
168:middle C
103:♭
97:♭
88:clarinet
84:♭
72:middle C
56:ensemble
32:♭
26:♭
1685:Beating
1134:(ed.).
985:Berlioz
727:Chorton
436:A 1927
420:A 1915
371:cantata
367:
356:
349:Chorton
92:trumpet
42:is the
1484:10 May
1395:
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1177:
1144:
1108:. 2001
1023:
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857:
802:
675:ISO 16
585:Handel
480:. The
220:Handel
208:organs
166:above
1552:pitch
1318:(PDF)
1054:(PDF)
311:hertz
52:tuned
44:pitch
1571:A440
1550:and
1486:2020
1393:ISBN
1290:ISBN
1226:ISBN
1175:ISSN
1142:ISBN
1114:2013
1076:link
1062:2020
1034:2020
1021:ISBN
990:ISBN
963:ISBN
936:ISBN
904:ISBN
855:ISSN
800:ISBN
710:oboe
615:and
438:Conn
365:lit.
354:lit.
341:viol
339:and
214:The
162:The
64:A440
50:are
1426:NPR
847:doi
549:'s
537:in
507:or
468:or
281:to
275:400
106:".
90:or
60:ISO
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