91 Sentences With "concert pitch" | Random Sentence Generator

The woozy, torpid sounds they transmit are based on audio samples of the many different frequencies that have defined concert pitch A over the centuries, from Bach's era through the 227s—thus obliquely referencing a huge swath of Western music.

"Stark Has Fans at Concert Pitch," Detroit Free Press, Apr. 4, 1907, p. 8.

The concert pitch of that note is what determines how we refer to the transposition of that instrument.

In the literature this is also called international standard pitch. The term "concert pitch" is also used to distinguish between the "written" (or "nominal"), and "sounding" (or "real") notes of a transposing instrument, i.e. concert pitch may refer to the sounding pitch on a non-transposing instrument. Music for transposing instruments is transposed into different keys from that of non-transposing instruments.

On some horns, depending on the type of valves fitted, a high F' (concert pitch) can sound out while pressing the first valve of the F side down halfway.

A written C, top, on a B clarinet sounds a concert B, bottom. Concert pitch is the pitch reference to which a group of musical instruments are tuned for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over music history. The most common modern tuning standard uses 440 Hz for A above middle C as a reference note, with other notes being set relative to it.

A pitch standard (also concert pitch) is the conventional pitch reference a group of musical instruments are tuned to for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over musical history. Standard pitch is a more widely accepted convention. The A above middle C is usually set at 440 Hz (often written as "A = 440 Hz" or sometimes "A440"), although other frequencies, such as 442 Hz, are also often used as variants.

Like most specimens of treble cornetts, tenor cornetts were usually pitched in ' or Cornettton, ca. a' = 466 Hz – around a semi-tone higher than modern concert pitch, which is a' = 440 Hz.

"The system most often employed in the modern literature."Renold, Maria (2004). Intervals, Scales, Tones and the Concert Pitch C = 128 Hz, p. 138. Translated from German by Bevis Stevens, edited by Anna Meuss (1998).

As such, they have always been fully chromatic, so no such tradition took hold, and trombone parts have always been notated at concert pitch (with one exception, discussed below). Also, it was quite common for trombones to double choir parts; reading in concert pitch meant there was no need for dedicated trombone parts. Note that while the fundamental sounding pitch (slide fully retracted) has remained quite consistent, the conceptual pitch of trombones has changed since their origin (e.g. Baroque A tenor = modern B-flat tenor).

The following is a list of E instruments, or instruments for which the concert pitch of E is notated as C in standard terminology. They are listed by the type of instrument, such as woodwind and brass.

Critics termed lead single and third track "Alive", a synth-pop-based song with elements of house, "catchy", with Neil Ashman of Drowned in Sound labelling it as "life-affirming electro-fuzz". It was also stated to have a "schoolyard" quality. The Observer called both it and following song "Concert Pitch" "deliriously upbeat confections". Sarah H. Grant of Consequence of Sound likened "Concert Pitch" to a "dance-floor tantrum inspired by the many Neil Tennant had himself", and the song was also said to contain a "punchy disco pulse and wistfully breathy chorus".

Ald McNurney, into whose > hands they passed subsequently, found them too large for convenience, so he > traded them for a more suitable instrument to Bernard Delaney, who can wake > the echoes with them again, although they are far below modern concert > pitch.

Mick's concert pitch uilleann pipes were built by William Rowsome in 1921, with a new chanter and extra A/G drone made by Alain Froment, who also made Mick's Bb, B, and C sets. His whistles were made by Mike Burke in the USA.

Unlike other songs produced by AC Burrell or Kyle Townsend, "Only Love Can Hurt Like This" is not tuned to the widely used concert pitch of Instead, it was recorded about 35 cents sharp, about one-third of the way to the next semitone.

For the majority of recordings, the strings are tuned a fifth apart, usually to some approximation of standard violin tuning: (from lowest to highest note) G,D,A,E. However, during the height of blues violin recordings 440 Hz for A was a far less commonly used concert pitch. Concert pitch apparently varied from ensemble to ensemble, from one recording session to the next, and quite likely from day to day, or from one climate to the next. Groups such as Jack Kelly and his South Memphis Jug Band and the Mississippi Sheiks, tuned as much as a minor third, or three semi-tones low for various recordings.

In 1974, Carling-O'Keefe Breweries provided funding for the construction of the 50-bell carillon. The bells were cast by the Royal Eijsbouts foundry of Asten in the Netherlands. The largest bell (the bourdon) weighs 4800 pounds. The instrument transposes up a perfect fourth from concert pitch.

Valencian tabaleters during folk celebration in Algemesi Dolçaines during the Fallas in Valencia The range in the concert pitch goes from A3 to E5. F#5 may be occasionally used, but it needs to be the next note progression of the scale and it has to be slurred to the previous note.

Besides Billy Pigg, musicians he recorded include Joe Hutton, Diana Blackett-Ord, Richard Flemming and George Atkinson, as well as some duet recordings of himself with Colin Caisley. He also made, but did not retain, a recording of Tom Clough, late in the latter's life. He was also a pipemaker, and is believed to have made the first concert-pitch Northumbrian smallpipe chanter, for Billy Pigg. Billy Pigg on pipes, John Doonan on piccolo and Forster Charlton on fiddle, liked to play as a trio, but smallpipes were traditionally pitched rather lower than modern concert pitch, and correcting for this, by using a very sharp reed in the smallpipes and pulling out the tuning slide of the piccolo, caused intonation problems.

An organ pipe, or a harpsichord string, designated as eight-foot pitch (8') is sounded at standard, ordinary pitch. For example, the A above middle C in eight-foot pitch would be sounded at 440 Hz (or at some similar value, depending on how concert pitch was set at the time and place the organ or harpsichord was made).

The disposition of a harpsichord is the set of choirs of strings it contains. This article describes various dispositions and gives the standard notation for describing them. If a harpsichord contains just one set of strings at normal concert pitch, its disposition is called 1 x 8'. Here, the 8' means eight foot pitch, which designates normal pitch.

The current "standard pitch" or modern "concert pitch" for this note is 440 Hz, although this varies in actual practice (see History of pitch standards). The note-naming convention specifies a letter, any accidentals, and an octave number. Each note is an integer number of half- steps away from concert A (A4). Let this distance be denoted n.

However, contemporary Native American flutes are often tuned to a concert pitch standard so that they can be easily played with other instruments. The root keys of contemporary Native American flutes span a range of about three and a half octaves, from C2 to A5. Early recordings of Native American flutes are available from several sources.

"'" (K. 316/300b) is a recitative and aria for soprano and orchestra that Wolfgang Amadeus Mozart wrote for Aloysia Weber. It is famous for including two occurrences of a G6, i.e. the G above high C, or 1568 Hz by modern concert pitch – according to the Guinness Book of Records, the highest musical note ever scored for the human voice.

With changes in concert pitch and the widespread adoption of A440 as a musical standard, new scientific frequency tables were published by the Acoustical Society of America in 1939, and adopted by the International Organization for Standardization in 1955. C0, which was exactly 16 Hz under the scientific pitch standard, is now 16.352 Hz under the current international standard system.

Both have a high pitch leaving the "concert" pitch up to a tone higher than modern pitch, where the temperament is significantly unequal to merit playing it away from E major. Modern organs or those tuned to a more equal temperament do not have this need. The C major version is known nowadays through manuscript copies by J. Tobias Krebs and J. Peter Kellner.

Elkin 1944, 41. He made his first appearance in Henry Wood's Promenade Concerts at the Queen's Hall in October 1914 singing Stanford's Songs of the Sea with the Alexandra Palace Choral Society.Wood 1946, 295: Elkin 1944, 70. He had declined to fulfil an engagement to sing them there for the Stock Exchange Orchestral Society in 1907 on hearing that they still used the high English Concert pitch.

On others, the style is really unique: each key pivots about its own rod, held in place by its own two posts, mounted above the tone hole, but transverse to the chanter. A number of his chanters are known, and not all of them share this distinctive style. He is believed to have made only concert-pitch sets. It appears that he always used a popping valve on his chanters.

The first task of an organ tuner is to select a temperament. Generally speaking, the temperament of a pipe organ is part of its design, and is not lightly changed during its lifetime. Equal temperament is very common, but by no means universal. Along with the temperament goes the overall concert pitch of the instrument, often A=440 Hz in modern instruments, but this also is far from universal.

At this time, Mannette tuned his instruments by ear. Eventually he learned about the necessity of concert pitch A440Hz and the use of strobe tuners. Since 1967, Mannette has been building up several hundred steel bands all over the United States mainly in colleges and universities, but also for private institutions. In 1991, he was invited by West Virginia University to show interested students how to build and play steel pans.

Until the early 19th century the dominant (the note of the large drum) was written as G and the tonic (the note of the small drum) was written as C no matter what the actual key of the work was, and whether it was major or minor, with the actual pitches indicated at the top of the score (for example, Timpani in D–A for a work in D major or D minor). This notation style however was not universal: Bach, Mozart, and Schubert (in his early works) used it, but their respective contemporaries Handel, Haydn, and Beethoven wrote for the timpani at concert pitch. In the 2010s, even though they are written at concert pitch, timpani parts continue to be most oftenSee, as an early 20th- century example, the orchestral score of Debussy's Pelléas et Mélisande: through no. 6 non-transposing parts have a key signature of one flat but the timpani part has no key signature, in bar 7 of no.

If a performer has been trained using fixed do, particularly in those rare cases in which the performer has absolute pitch or well-developed long- term relative pitch, the performer may have difficulty playing music scored for transposing instruments: Because the "concert pitch" note to be performed differs from the note written in the sheet music, the performer may experience cognitive dissonance when having to read one note and play another. Especially in the early stages of learning a piece, when the performer has yet to gain familiarity with the melodic line of the piece as expressed in relative terms, it may be necessary to mentally re-transpose the sheet music in order to restore the notes to concert pitch. Those trained in fixed-do will argue that their act is the analogue of reading aloud in a language. Just as one reads this very sentence without parsing it grammatically, so too fixed-do is the direct sounding of the music.

Touhey played left-handed, in a mirror image of the typical position. He used concert-pitch instruments made by the Taylor brothers of Philadelphia. In performing dance music, he played fast but deviated from strict tempo to bring out the character of the tune. He used the regulators (three keyed pipes lying under the heel of the hand) not to keep the rhythm, but to emphasise the broader structure of the piece.

Kathleen Schlesinger (1862, in Holywood, Ireland - 1953, in London) was a British music archaeologist and curator of musical instruments at the British Museum.A. R. Meuss, Intervals, Scales, Tones and the Concert Pitch C, 2004 , p. 27 She specialized in the history of musical instruments and was called in 1911 "the greatest authority on the subject". In 1939, her Greek Aulos presented her analysis of the modes used on aulos instruments in ancient Greek music.

The standard modern instrument has a range of three octaves, from the F below middle C (F3 to F6 in scientific pitch notation). Larger - or 4-octave models from the C below middle C are also becoming more common (C3 to F6 or C7). Unlike its cousin the glockenspiel, it is a non-transposing instrument, generally written at concert pitch. However, composers occasionally (for example, Olivier Messiaen) write parts to sound an octave higher.

Bill kept records of the sizes and other details of all the pipes that were brought to him for repair. Using charts that he made up from this very variable information to inform his own designs, he devised his own standardised hole spacings for a variety of pitches. Some of the first concert pitch chanters are of his manufacture. This is an ivory set of pipes in G, belonging to Anthony Robb, made by Bill Hedworth around 1980.

They can be retuned by filing material off the prongs. Filing the ends of the prongs raises the pitch, while filing the inside of the base of the prongs lowers it. Currently, the most common tuning fork sounds the note of A = 440 Hz, the standard concert pitch that many orchestras use. That A is the pitch of the violin's second string, the first string of the viola, and an octave above the first string of the cello.

An instrument is "in a key", an unrelated usage that means the pitches considered "natural" for that instrument. For example, modern trumpets are usually in the key of B, since the notes produced without using the valves correspond to the harmonic series whose fundamental pitch is B. (Such instruments are called transposing when their written notes differ from concert pitch.) A key relationship is the relationship between keys, measured by common tone and nearness on the circle of fifths. See closely related key.

During the 19th century, British musical taste was dominating the RMP's opinion in making musical decisions, including selecting performance repertoires, outlining the list of the programmes as well as employing the concert pitch. George Peake, the appointed conductor of the Philharmonic in 1889 to 1911, decided the high Philharmonic pitch to be employed for the orchestra instead of using the normal pitch or the French pitch, as the high pitch was still being used by the orchestras in the UK (ibid.).

The five-part choir was divided into four vocal registers: means (boys' voices of restricted compass), divided contratenors (now believed to have been light high tenors), tenors (equivalent to baritones in modern terminology) and basses. The pitch standard, defined by the tuning of the organ, was about a'=475, slightly more than a semitone higher than modern concert pitch.'As It Was in the Beginning': Organ and Choir Pitch in Early Anglican Church Music',Andrew Johnstone Early Music Vol. 31, No. 4 (Nov.

In 2004, the Real Book material was acquired by publisher Hal Leonard and licensed for legal sale. Many new volumes were eventually added to the series, and some of the famous errors in the original volumes were corrected. These books also inspired a similar series, offered by the Sher Music Co., called The New Real Book. The Real Book is published in editions to suit B, E, F, and C (concert pitch) instruments, as well as bass clef and voice editions ("low" and "high" voice, with lyrics).

A common alternative banjo tuning for playing in D is A-D-A-D-E. Many Folk guitar players also used different tunings from standard, such as D-A-D-G-A-D, which is very popular for Irish music. A musical instrument that has had its pitch deliberately lowered during tuning is said to be down-tuned or tuned down. Common examples include the electric guitar and electric bass in contemporary heavy metal music, whereby one or more strings are often tuned lower than concert pitch.

Instruments meant to play together, as in an orchestra, must be tuned to the same standard lest they produce audibly different sounds while playing the same notes. Beginning in 1762, the average concert pitch began rising from a low of 377 vibrations to a high of 457 in 1880 Vienna. Different regions, countries, and even instrument manufacturers preferred different standards, making orchestral collaboration a challenge. Despite even the efforts of two organized international summits attended by noted composers like Hector Berlioz, no standard could be agreed upon.

The nine smaller bells are also decorated with inscriptions, quotes from Psalms from the King James Version of the Bible, cast onto their waist, while the largest bell's inscription reads "St. Andrews Church, Sydney NS". This largest bell weighs about and its pitch is E in the middle octave. The chime is attuned to concert pitch, to the eight notes of the octave or diatonic scale with two bells added, one bell a semitone, a flat seventh, and one bell, the treble bell, above the octave.

Both "Celebrate" and "Disarm" were singled out as being "EDM at its warmest- sounding". Multiple album reviews noted several songs' similarity to Daft Punk tracks, especially "Awakening" and "Celebrate". Several were noted to have sounds reminiscent of dubstep according to NME, notably "Concert Pitch", "Awakening" and "Old Flavours"; Grant of Consequence of Sound felt much of the album is stylistically rooted in new wave. Another comparison made was album closer "Keep a Watch", which features a gospel choir, to David Bowie, often in a negative context.

Pauline Viardot as Orphée From 1784 to 1859 the Parisian diapason (concert pitch) rose steadily from 820 to 896 cycles per second, thus Gluck's French version for haute-contre became increasingly impractical. When Adolphe Nourrit sang the role at the Opéra in 1824 his music was altered. Giacomo Meyerbeer suggested to the French mezzo-soprano Pauline Viardot that she should perform the role of Orfeo. The composer Hector Berlioz was a close friend of Viardot and the leading expert in France on the music of Gluck.

For instance, if a guitar is tuned to regular concert pitch, with the open strings being E, A, D, G, B, E (from low to high), open chords must be based on one or more of these notes. To play an F chord the guitarist may barre strings so that the chord root is F. Most barre chords are "moveable" chords, as the player can move the whole chord shape up and down the neck.Moore, Allan. "The So-Called 'Flattened Seventh' in Rock", p.

Richmond Opera, then known as Isleworth Baroque, was led by Helena Brown until her passing in 2012. Unusually for a Baroque Music group, Brown had the instruments play at Modern Concert Pitch (A=440) rather than at Baroque Pitch (A=415) to encourage musicians from outside the baroque tradition to take part.Hobson C. IB and Performance Pitch (2015), Isleworth Baroque committee records. Janet Oates, now a composer, choir master and professional singer, took part in Isleworth Baroque's first production and remained with the company as a soloist, musician, and director for 15 years.

1 the timpani B is written in the staff; nos. 29 to 30 non-transposing parts have a key signature of four sharps but, again, the timpani part has no key signature, and so on. but not alwaysFor an example where this is not done, i.e. where the timpani part carries the same signature as all the other parts, see the orchestral score of Prokofiev's Piano Concerto No. 1 in D major, where, incidentally, transposing instrument parts are also written at concert pitch with the same key signature as all the other parts.

The 1st movement, in E-flat major, begins with an exposition of the main theme by the orchestra. The clarinet soloist enters with a high E flat (E-flat concert pitch) followed by a 3 octave jump before repeating the opening theme. This 3 octave jump, along with other large leaps, is stylistic of this movement. The majority of the first half of the movement sits very comfortably in E-flat major before modulating to D-flat major where much of the previous clarinet melodic material is repeated.

Bath Abbey and the Roman baths A four-stop continuo organ was built for the abbey in 1999 by Northampton-based organ builder Kenneth Tickell. The instrument, contained in a case of dark oak, is portable, and can be tuned to three pitches: A=440 Hz (modern concert pitch), A=415 Hz and A=465 Hz. It is also possible to tune at A=430. A lever pedal can reduce the stops sounding to only the 8' stop and, when released, returns the organ to the registration in use before it was depressed.

Historically, concert pitch has varied. For an instrument in equal temperament tuned to the A440 pitch standard widely adopted in 1939, middle C has a frequency around 261.63 Hz (for other notes see piano key frequencies). Scientific pitch was originally proposed in 1713 by French physicist Joseph Sauveur and based on the numerically convenient frequency of 256 Hz for middle C, all C's being powers of two. After the A440 pitch standard was adopted by musicians, the Acoustical Society of America published new frequency tables for scientific use.

This was historically due to this part being taken by a G bass trombone, rather than the modern B♭ bass trombone. As instrument technology modernized, the need for a bass trombone in G diminished, with the introduction of the B♭ bass trombone with F rotary valve. The larger bore and open wrap of the F valve gave the B♭ bass trombone a lower available playing register than the straight G bass trombone. Tuned percussion is written in concert pitch (with the appropriate octave transpositions) with the appropriate clef for the instrument – e.g.

A four-stop continuo organ was built for the abbey in 1999 by Northampton-based organ builder Kenneth Tickell. The instrument, contained in a case of dark oak, is portable, and can be tuned to three pitches: A=440 Hz (modern concert pitch), A=415 Hz and A=486 Hz. A lever pedal can reduce the stops sounding to only the 8' stop and, when released, returns the organ to the registration in use before it was depressed. A page about similar instruments on the builder's website can be found here.

By 1860 most theaters in Paris had lowered concert pitch to diapason normal. This was not as low as in Gluck's time: "a Commission had lately recommended that the pitch in France should be lowered from an A of 896 to 870 vibrations." Still this was apparently enough that later in the 19th century the role of Orpheus came to be sung almost as frequently by a tenor as by a contralto. Berlioz's version is one of many which combine the Italian and French scores, although it is the most influential and well regarded.

Reeves's declamation in The Crystal Palace was a main attraction and was repeated at each succeeding triennial festival until 1874. During the later 1860s Reeves felt it necessary to make public representations against the constantly increasing rise in English Concert Pitch, which was by then half a tone higher than elsewhere in Europe and a full tone higher than in the age of Gluck. The pitch of the organ at the Birmingham Festival was (of necessity) lowered, after a similar reduction had been forced by senior artistes at Drury Lane. Singers such as Adelina Patti and Christine Nilsson made similar demands.

It is common to score music for the whistle using standard musical notation. The tin whistle is not a transposing instrument - for example, music for the D tin whistle is written in concert pitch, not transposed down a tone as would be normal for transposing instruments. Nevertheless, there is no real consensus on how tin whistle music should be written, or on how reading music onto the whistle should be taught. However, when music is scored for a soprano whistle it will be written an octave lower than it sounds, to spare ledger lines and make it much easier to read.

Middle C C or Do is the first note of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (F, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. In English the term Do is used interchangeably with C only by adherents of fixed-Do solfège; in the movable Do system Do refers to the tonic of the prevailing key.

"In the Forecourts of Instrumentation", The Monthly Musical Record. p.268. Other pitch ratios are given related names, the septimal minor third with ratio 7:6 and the tridecimal minor third with ratio 13:11 in particular. The minor third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. The sopranino saxophone and E♭ clarinet sound in the concert pitch ( C ) a minor third higher than the written pitch; therefore, to get the sounding pitch one must transpose the written pitch up a minor third.

Wood 1946, pp. 68–84. Cathcart also stipulated (contrary to Newman's preference) the adoption of French or Open Diapason concert pitch, necessitating the acquisition of an entirely new set of wind instruments for the orchestra, and the re-tuning of the Queen's Hall organ. This coincided with the adoption of this lower pitch by other leading orchestras and concert series.Wood 1946, pp. 69–71, 73. Although the concerts gained a popular following and reputation, Newman went bankrupt in 1902, and the banker Edgar Speyer took over the expense of funding them. Wood received a knighthood in 1911.

Apollo 440 (also known as Apollo Four Forty or @440) are a British electronic music group formed in Liverpool in 1990. The group has written, recorded, and produced five studio albums, collaborated with and produced other artists, remixed as Apollo 440 and as ambient cinematic alter-ego Stealth Sonic Orchestra, and created music for film, television, advertisements and multimedia. They notched up ten UK top 40 singles with three top-tens, and had a chart presence worldwide. Its name comes from the Greek god Apollo and the frequency of concert pitch — the A note at 440 Hz, often denoted as "A440", and the Sequential Circuits sampler/sequencer, the Studio 440.

Though most commonly pitched in the key of D, simple system flutes are available pitched in other keys, and are often heard in Irish music pitched in E flat, B flat and C. Although referred to as a D flute, this is a non-transposing instrument, so if you finger C, a concert-pitch C is sounded. The name D-flute comes from the fact that the simplest 6-hole wooden flute has D as its lowest note and plays the scale of D without any cross-fingering. The E-flat, B-flat and C versions are transposing instruments. The flute has six main finger-holes.

Edward Lloyd, 1899 In 1877, when Sims Reeves withdrew from his engagement for the Handel Triennial Festival at the Crystal Palace over the controversy concerning Concert pitch, Lloyd was engaged instead. He had performed there in Acis and Galatea in 1874, and participated in every subsequent festival there until his retirement in 1900. In these performances before huge audiences in that immense space, his beautiful, resonant and clarion voice carried wonderfully. These festivals might include full performances of Messiah, Israel in Egypt and Judas Maccabaeus on successive nights, each being exceptionally demanding for the tenor (but extremely rewarding for one equal to the task).

The euphonium, like the tenor trombone, is pitched in concert B. For a valved brass instrument like the euphonium, this means that when no valves are in use the instrument will produce partials of the B harmonic series. It is generally orchestrated as a non-transposing instrument like the trombone, written at concert pitch in the bass clef with higher passages in the tenor clef. Treble clef euphonium parts transposing down a major ninth are included in much concert band music:The major-ninth is transposition for the sake of trumpet players doubling on euphonium. in the British-style brass band tradition, euphonium music is always written this way.

Bressan's surviving instruments are of renowned quality and have inspired a number of reproduction instruments. Comparisons of the existing recorders have been made by Bouterse,Bouterse, Jan, "Bressan alto recorders: pitch and sound; and some tips to make a copy", in: The Fellowship of Makers and Researchers of Historic Instruments, Communication 1910, 2010 including notes on how to replicate them and the problems of re-scaling the copies so that they can be played at the modern concert pitch standards of A=440 or A=415 hertz. Zen-On makes two plastic versions of an alto by Bressan, one scaled to play at A=440 hertz, and one at A=415.

Musicians with absolute perception may experience difficulties which do not exist for other musicians. Because absolute listeners are capable of recognizing that a musical composition has been transposed from its original key, or that a pitch is being produced at a nonstandard frequency (either sharp or flat), a musician with absolute pitch may become distressed upon perceiving tones believed to be "wrong" or hearing a piece of music "in the wrong key". This can especially apply to Baroque music that is recorded in Baroque tuning (usually A = 415 Hz as opposed to 440 Hz, i.e., roughly a half step or semitone lower than standard concert pitch).

B clarinet is a transposing instrument. When the note C occurs in a score that is especially written for a B clarinet (top), the instrument will actually sound a B (bottom), hence the name of the instrument. The very same fingering when played on an A clarinet will sound an A, and in a score for A clarinet, an A will be written as a C. A transposing instrument is a musical instrument whose music is recorded in staff notation at a pitch different from the pitch that actually sounds (concert pitch). A written middle C (C4) on a transposing instrument produces a pitch other than C, and that pitch identifies the interval of transposition when describing the instrument.

If an instrument has a range too high or too low for composers to easily write its music on bass or treble clef, the music may be written either an octave higher or an octave lower than it sounds, in order to reduce the use of ledger lines. Instruments that "transpose at the octave" are not playing in a different key from concert pitch instruments, but sound an octave higher or lower than written. Music for the double bass is written an octave higher than it sounds. Thus, when cellos and basses are reading exactly the same part (a common practice by composers from the early Classical period), the basses' line is an octave below the cellos'.

These finger holes exhibit cut marks, which could indicate the exact placement of these holes was specifically measured to create concert pitch (that is, to make the instrument in tune) or a scale. The part near the elbow joint had two V-shaped carvings, presumably a mouthpiece. Ivory flutes would have required a great time investment to make, as it requires more skill and precision to craft compared to a bird bone flute. A section of ivory must be sawed off to the correct size, cut in half so it can be hollowed out, and then the two pieces have to be refitted and stuck together by an adhesive in an air-tight seal.

In that same operation the transposition of this carillon was unfortunately raised: whereas the instrument at first transposed down a major second, its 51 bells now speak at concert pitch. The bells of Soldiers' Tower Carillon range in weight from 23 pounds to the bourdon's 4 tons, and are performed on special occasions such as convocation, reunions, homecoming and Remembrance Day in addition to regular recitals attended by university members and the general public. Remembrance Day Ceremonies at the University of Toronto are held yearly, on or about the 11th of November, with representatives from many Canadian institutions laying wreaths at the foot of the Soldier's Tower in honour of alumni who, as soldiers, made the ultimate sacrifice during WWI and WWII.

In conductors' scores and other full scores, music for transposing instruments is generally written in transposed form, just as in the players' parts. Some composers from the beginning of the 20th century onward have written orchestral scores entirely in concert pitch, e.g. the score of Sergei Prokofiev's Piano Concerto No. 1 in D. The names of transposing instruments use flats instead of sharps (thus there are instruments in E or in B, but not in D or in A). In practice the actual transposition in the score may (for the convenience of the player) depend on the key of the music. For example, in a section in C major an E alto saxophone part will appear in A major (three sharps).

D. "Red" Wilson was a Canadian football player, playing from 1922 to 1931. Primarily playing tackle (called "middle"),Former "T" Rugby Stars for Argos Montreal Gazette, September 13, 1928Bengals Stage Uphill battle to beat Argos Ottawa Citizen October 14, 1929 Wilson also played guard ("inside")Imperials and Mustangs tuned to concert pitch Border Cities Star, November 20, 1931 and flying wing.Likely Argo Squad - Wilson may replace Stirrett at Flying Wing Montreal Gazette, September 25, 1923 Wilson played for the Toronto Argonauts from 1922 to 1930, including 52 regular season games and a team record 21 playoff games.2008 Toronto Argonauts Media Guide His best season was 1929, when he was named team captain and won the Jeff Russel Memorial Trophy as best player in the east.

Because of the instrument's complexity, beginning uilleann pipers often start out with partial sets known as practice sets. Starter or Practice Set A practice set consists of only the basic elements of pipe bag, bellows and chanter, with no drones or regulators. The chanter is available in keys ranging from the "concert pitch" D chanter in half-note steps downward to a B chanter, the latter being regularly referred to as a "flat set" (as are any sets below the key of D). To play the uilleann pipes effectively, students must learn to pump the bellows steadily while controlling the pressure on the bag and playing the chanter simultaneously. So beginners often play on practice sets until they become comfortable with those basic mechanics.

The most common variant, the tenor, is a non-transposing instrument pitched in B, an octave below the B trumpet and an octave above the pedal B tuba. The once common E alto trombone became less widely used as improvements in technique extended the upper range of the tenor, but it is now resurging due to its lighter sonority which is appreciated in many classical and early romantic works. Trombone music is usually written in concert pitch in either bass or tenor clef, although exceptions do occur, notably in British brass-band music where the tenor trombone is presented as a B transposing instrument, written in treble clef. A person who plays the trombone is called a trombonist or trombone player.

A440 is widely used as concert pitch in the United Kingdom and the United States. In continental Europe the frequency of A4 commonly varies between 440 Hz and 444 Hz. In the period instrument movement, a consensus has arisen around a modern baroque pitch of 415 Hz (with 440 Hz corresponding to A), a 'baroque' pitch for some special church music (in particular, some German church music, e.g. the Pre-Leipzig period cantatas of Bach)Oxford Composer Companion JS Bach, pp. 369–372. Oxford University Press, 1999 known as (Chorton pitch) at 466 Hz (with 440 Hz corresponding to A), and classical pitch at 427–430 Hz. A440 is often used as a tuning reference in just intonation regardless of the fundamental note or key.

In addition, older bass clarinets have two register keys, one for middle D and below, the other for middle E and higher. Newer models typically have an automatic register key mechanism, where a single left thumb key commands the two vent holes. Depending on whether the right hand ring finger (used in fingerings for middle D and below) is down or up, the lower or upper vent hole will open. Many professional or advanced bass clarinet models extend down to a low C (sounding B, identical to the bassoon's lowest B), two octaves below written middle C. At concert pitch this note is the B below the second ledger line below the bass staff or B1 in scientific pitch notation.

Most modern sousaphones are made in the key of BB (Low B Flat) and like tubas (which are commonly made in pitches of BB, CC, EE, and F) the instrument's part is written in "concert pitch", not transposed by key for a specific instrument. Although sousaphones may have a more restricted range than their concert tuba counterpart (most sousaphones have 3 valves instead of 4 to reduce weight), generally they can all play the same music and usually have parts written in the bass clef and the indicated octave is played (unlike double bass or electric bass that sound an octave lower than the indicated note). Many older sousaphones were pitched in the key of E, but current production of sousaphones in that key is limited.

No further changes were made until 1930, when the Willis firm lowered the pitch to modern concert pitch: a Welte automatic player was added in 1931, with 70 rolls cut by Marcel Dupré, Joseph Bonnet, Alfred Hollins, Edwin Lemare and Harry Goss- Custard also being supplied. This remained in use for some time: the Duke of the time is said to have frequently sat at the organ bench and pretended to play the organ to his guests and they would applaud at the end. This practice is said to have been halted abruptly when the player started before the Duke had reached the organ. This famous instrument is regularly maintained and is played by visiting organists throughout the year, but its condition is declining: a fundraising campaign has been launched for its complete restoration.

Clef combinations played a role in the modal system toward the end of the 16th century, and it has been suggested certain clef combinations in the polyphonic music of 16th-century vocal polyphony are reserved for authentic (odd-numbered) modes, and others for plagal (even-numbered) modes, but the precise implications have been the subject of much scholarly debate. Music can be transposed at sight if a different clef is mentally substituted for the written one. For example, to play an A-clarinet part, a B-clarinet player may mentally substitute tenor clef for the written treble clef, and concert-pitch music in bass clef can be read on an E instrument as if it were in treble clef, although the keys and octaves of the notes will still need to be adjusted.

In 1966, the instrument was expanded by the installation of an additional 44 bells, made possible by a gift from Florence S. Marcy Crofut and also cast by the John Taylor Bellfounders. The original chime had 10 pitches, which were named in concert pitch (F♯-G-A-B-C-C♯-D-E-F♯-G); the expansion kept the same bell as bourdon, but the notes were renamed to make the bourdon a G (it is common practice to make carillons transposing instruments so that composers can assume a standard range). The new fully chromatic 4.5 octave carillon was named the Yale Memorial Carillon to avoid showing preference to either the Harkness or the Crofut gift. At this point the Guild renamed itself the Yale University Guild of Carillonneurs.

Fine piano tuning carefully assesses the interaction among all notes of the chromatic scale, different for every piano, and thus requires slightly different pitches from any theoretical standard. Pianos are usually tuned to a modified version of the system called equal temperament (see Piano key frequencies for the theoretical piano tuning). In all systems of tuning, each pitch is derived from its relationship to a chosen fixed pitch, usually the internationally recognized standard concert pitch of A4 (the A above middle C). The term A440 refers to a widely accepted frequency of this pitch – 440 Hz. piano tuner The relationship between two pitches, called an interval, is the ratio of their absolute frequencies. Two different intervals are perceived as the same when the pairs of pitches involved share the same frequency ratio.

Take That released a DVD of their 2006 performance at the stadium, Take That: The Ultimate Tour. Other artists who have played the stadium are U2, Beyoncé, Jay-Z, George Michael, Rod Stewart, Foo Fighters, Pet Shop Boys, Manic Street Preachers, Bastille, Dizzee Rascal, The Futureheads, the Sugababes, Taylor Swift, Sophie Ellis-Bextor, Coldplay, Bruce Springsteen, Muse, Bon Jovi (three times), Robbie Williams, One Direction, The Stone Roses and the Spice Girls. Concerts and boxing matches eventually took their toll on the pitch. In 2008, late post-concert pitch renovation, combined with an early start to the football season, led to the pitch not being ready for the first home fixture, causing the club to play its UEFA Cup first round qualifying match at Barnsley's Oakwell Stadium and a moratorium to be imposed on the staging of non-football events at Eastlands.

With the exception of percussion, bass trombone and some older tenor trombone music, all parts are transposing and written in the treble clef with the instrument's lowest open note (B♭ or E♭) notated as middle C. This means that for every valved instrument, from the basses to the soprano cornet, a given note on the stave corresponds to the same valve fingering, enabling players to move more easily between parts. This system is unique to UK-style brass bands, though historically the North American drum and bugle corps activity followed the brass band convention of all-treble-clef writing. Tenor trombone music is usually in treble clef like the other instruments in the band, though older scores or marches sometimes use tenor clef. Bass trombone music is written at concert pitch in bass clef.

Double bass player Vivien Garry playing a show in New York City in 1947 The double bass is generally tuned in fourths, in contrast to other members of the orchestral string family, which are tuned in fifths (for example, the violin's four strings are, from lowest-pitched to highest- pitched: G–D–A–E). The standard tuning (lowest-pitched to highest-pitched) for bass is E–A–D–G, starting from E below second low C (concert pitch). This is the same as the standard tuning of a bass guitar and is one octave lower than the four lowest-pitched strings of standard guitar tuning. Prior to the 19th- century, many double basses had only three strings; "Giovanni Bottesini (1821–1889) favored the three-stringed instrument popular in Italy at the time", because "the three-stringed instrument [was viewed as] being more sonorous".

The Lavta has a small body made of many ribs made using carvel bending technique. Its appearance is somewhat like a small (Turkish) oud - the strings are made from gut like an oud but it has only 7 strings in 4 courses and is tuned A dd gg c'c' (like the ud), or sometimes A dd aa d'd' (in intervals of 5ths like laouto - as well as 4ths); it is also sometimes tuned to Turkish Bolahenk tuning C G D A, which is the same as G D A E in concert pitch. The adjustable frets are made from tied bits of gut on the fingerboard, at the microtonal intervals of the makam system. This is more closely related to instruments like tanbur than to the fretless oud and the 12-frets of the octave laouto.

An absolute listener may also use absolute strategies for tasks which are more efficiently accomplished with relative strategies, such as transposition or producing harmony for tones whose frequencies do not match standard equal temperament. It is also possible for some musicians to have displaced absolute pitch, where all notes are slightly flat or slightly sharp of their respective pitch as defined by a given convention. This may arise from learning the pitch names from an instrument that was tuned to a concert pitch convention other than the one in use, e.g., A = 435 Hz (the Paris Opera convention of the late 19th and early 20th centuries) as opposed to the Anglo-American modern standard A = 440 Hz. When playing in groups with other musicians, this may lead to playing in a tonality that is slightly different from that of the rest of the group.

Orga, p. 44 Newman's determination to make the promenade concerts attractive to everyone led him to permit smoking during concerts, which was not formally prohibited at the Proms until 1971.Orga, p. 57 Refreshments were available in all parts of the hall throughout the concerts, not only during intervals.Jacobs, p. 46 Prices were about one fifth of those customarily charged for classical concerts: the promenade (the standing area) was one shilling, the balcony two shillings, and the grand circle (reserved seats) three and five shillings.Orga, p. 55 Newman needed to find financial backing for his first season. Dr George Cathcart, a wealthy ear, nose and throat specialist, offered to sponsor it on two conditions: that Wood should conduct every concert, and that the pitch of the orchestral instruments should be lowered to the European standard diapason normal. Concert pitch in England was nearly a semitone higher than that used on the continent, and Cathcart regarded it as damaging for singers' voices.

During the American Civil War, most brass bands used a branch of the brass family known as saxhorns, which, by today's standards, have a narrower bore taper than tuba—the same as true cornets and baritones, but distinct from trumpets, euphoniums, and others with different tapers or no taper. Around the start of the Civil War, saxhorns manufactured for military use in the USA were commonly wrapped with the bell pointing backwards over the player's shoulder, and these were known as over-the-shoulder saxhorns, and came in sizes from cornets down to E basses. However, the E bass, even though it shared the same tube length as a modern E tuba, has a narrower bore and as such cannot be called by the name tuba except as a convenience when comparing it to other sizes of the Saxhorn. Most music for the tuba is written in bass clef in concert pitch, so tuba players must know the correct fingerings for their specific instruments.

Tuning pitch is often taken to be A4 = 415 Hz, roughly a semitone lower than the modern standard concert pitch of A4 = 440 Hz. An accepted exception is for French baroque repertoire, which is often performed with a = 392 Hz, approximately a semitone lower again. See Jean- Philippe Rameau's Treatise on Harmony (1722) [Dover Publications], Book One, chapter five, for insight into French baroque tuning; "Since most of these semitones are absolutely necessary in the tuning of organs and other similar instruments, the following chromatic system has been drawn up." Tuning an instrument nowadays usually starts with setting an A; historically it would commence from a C or an F. Some modern instruments are built with keyboards that can shift sideways, allowing the player to align the mechanism with strings at either A = 415 Hz or A = 440 Hz. If a tuning other than equal temperament is used, the instrument requires retuning once the keyboard is shifted.

Clarinets with few keys cannot therefore easily play chromatically, limiting any such instrument to a few closely related keys. For example, an eighteenth-century clarinet in C could be played in F, C, and G (and their relative minors) with good intonation, but with progressive difficulty and poorer intonation as the key moved away from this range. In contrast, for octave-overblowing instruments, an instrument in C with few keys could much more readily be played in any key. This problem was overcome by using three clarinets—in A, B, and C—so that early 19th-century music, which rarely strayed into the remote keys (five or six sharps or flats), could be played as follows: music in 5 to 2 sharps (B major to D major concert pitch) on A clarinet (D major to F major for the player), music in 1 sharp to 1 flat (G to F) on C clarinet, and music in 2 flats to 4 flats (B to A) on the B clarinet (C to B for the clarinetist).

Susan Feder's program notes of the St. Louis Symphony recording of this piece include imagery given by Tower regarding the title: > "The Island is remote, lush, tropical with stretches of white beach > interspersed with thick green jungle. Above is a large, powerful, and > brightly colored bird which soars and glides, spirals up, and plummets with > folded wings as it dominates but lives in complete harmony with its island > home." Tower's analysis of Island Prelude divides it into three main sections, possibly fitting the sonata form, or at least a variation of the ABA form. The beginning largo section portrays "a very slow-moving consonant landscape that gradually becomes more active and dissonant." The beginning time signature is 5/4 with the quarter note ca. 40 beats per minute. While the quarter pulse is kept constant, the number of beats per measure frequently changes between 5/4, 4/4, 3/4, and 2/4, creating the unpredictable, yet constant terrain. In the quintet, the horn begins the piece on an A, concert pitch.