I am not clear just what the issue is here. C and A are defined by the
distance between them; A is not a "sharp C". All the notes are equally
special, there is nothing otherwise special about "middle C", and it is
in any case only approximately in the middle for the modern concert
piano. For most other instruments it is not in the middle at all. It is
is the lowest note on the standard flute, almost the highest note on the
bassoon, and by no means comfortable to sing for a bass voice.
Notationally it is the point of symmetry between the treble and bass
staffs (the current position of the clefs being relatively modern
inventions, and relative to modern human vocal ranges); that is the only
other sense in which it is "in the middle".
Of course C was originally Ut - blame Guido D'Arezzo for all that!
And, if you really want to go all gooey about frequencies, there is
always the Solfeggio movement to play around with:
http://en.wikipedia.org/wiki/Solfeggio_frequencies
:-)
Richard Dobson
On 26/04/2013 03:34, Robert Greene wrote:
To each his own. I do not care for the creeping up
of pitch.
Yes of course re equal temperament. But the
original subject was about 440 versus middle C--
pretty far off however one figures it.
In just intonation (where C= (3/5) 440 if A 440 is
the standard) middle C is 264 , it is still
pretty far from 440! (which I suppose was the original
point). Piano (equal temp.) pitch is a bit disconcerting
but there is so much good music for piano one
just learns to live with it.
Robert
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