> I think a problem with those sections is that they mix several > different concepts in a jumble.
yes. Dont have the OED handy, this library is very small and lacks a copy, but the dictionary in my mac and the larger one from the shelf both give narrow definitions for the entry 'concert pitch', eg, a=440, internationally agreed on, the pitch at which orchestral instruments are tuned. Neither entry discussed the convention of transposed parts. I suppose the 1960 ISO agreement has to be understood in context. Also, please note, ISO standards are not laws, just a formalized understanding of how things can be done. Just because there is a standard for what means 'inch' and another for 'meter', nothing prevents me from working with brunswicke inch when working with the drawings of Hioronymus Praetorius from his Sytagma Musicum. Yes, whatever meanings our documentation uses for the term 'Concert Pitch' should be discussed in this entry. I appologize for not realizeing my own understanding of that term was narrow. > Concert pitch is simply what the non-transposing instruments play, > when presented a notated note. I now see two meanings. First is the absolute pitch meaning, a concept somewhat misleading for predating the early music movement. Secondary usage draws on the first meaning and contrasts the actual sounding pitch with the notated pitch which differ for transposing instruments. FWIW, I recall a recent article in Early Music America (might be posted online, they have a website) discussing the use of varying reference pitches. > Orchestras can adjust on the fly well, they can try, some instruments will have more trouble than others. unfretted strings and brass have the most flexibility as they are always challenged to play in any particular temperament. Some winds can attempt embouchure changes, the horn has his fist, but woodwinds trade off alacrity when having to bend notes by alternate fingerings or embouchure. The crumhorn, serpent, and cornetto all have notorius flexibility. Its the continuo section where we find the least flexible instruments. > Pianos are tuned with > scale stretch in order to compensate for inharmonicity. and how 'best' to do this is subjective, varying with each concert artist and concert tuner. > The transposing instruments play a pitch other than notated. true when the convention is followed. As our trombone player has noted, some players have to get used to multiple notations. Viola and cello players have to cope with floating c-clefs; Alto recorder players have to work from g2 clefs, floating c clefs, and octave-below g clefs. I have a music engraving reference at home (Ross comes to mind as the author) which gives a fairly complete list of transposing instruments, will try to remember to bring it tomorrow. -- Dana Emery _______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
