"Roulette"", ""Sing a Tune"", and ""Bid a Note"" for 10 points each, and ""Golden Medley Showdown"" for 30, to determine the $100,000 winner. Unlike the mystery tune prize, this $100,000 was in cash and prizes. Runners-up won $2,500. In 1978, the show (which had switched to a disco set and theme) discarded the Mystery Tunes and the entire season was set up to have four nine-week $100,000 tournaments. The first six weeks consisted of two-player games, featuring ""Melody Roulette"", ""Bid a Note"", and ""Golden Medley Showdown"". The six winners returned for a three-week tournament, played like the 1977 tournament, except"
"be adjusted for each performance). Symphony orchestras and concert bands usually tune to an A440 or a B♭, respectively, provided by the principal oboist or clarinetist, who tune to the keyboard if part of the performance. When only strings are used, then the principal string (violinist) typically has sounded the tuning pitch, but some orchestras have used an electronic tone machine for tuning. Interference beats are used to objectively measure the accuracy of tuning. As the two pitches approach a harmonic relationship, the frequency of beating decreases. When tuning a unison or octave it is desired to reduce the beating"
"other strings are not so equipped. The A string is tuned first to a reference pitch source such as a tuning fork or, in most orchestras, the oboe, typically to 440 Hz, although some orchestras tune to another standard A such as 442, or even as high as 445 or 446 Hz to produce a brighter sound. Early music groups interested in authentic performance may use a lower standard A. When playing with a fixed-pitch instrument such as a piano or accordion, the violinist must tune to accommodate that instrument. The other strings are then tuned to the A in"
"make the intonation process more precise. In classical music, there is a longstanding tradition to tune ""by ear"", by adjusting the pitch of instruments to a reference pitch. In an orchestra, the oboe player gives a 440 Hz ""A"", and the different instrument sections tune to this note. In chamber music, either one of the woodwind players gives an ""A"", or if none is present, one of the string players, usually the first violinist, bows his or her open ""A"" string. If an orchestra is accompanying a piano concerto, the first oboist takes the ""A"" from the piano and then"
"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 Berlin Philharmonic now use a slightly lower pitch (443 Hz) than their highest previous standard (445 Hz). Many modern ensembles which specialize in the performance of Baroque music"
"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. Orchestras between 1750 and 1820 mostly used A = 423.5 Hz, though there were many forks and many slightly different pitches. Standard tuning forks are available that vibrate at all the pitches within the central octave of the piano, and also other pitches. Well-known tuning fork manufacturers include Ragg and John Walker,"
"which orchestras are tuned. However, Verdi used the French standard 435 Hz in writing his ""Requiem"" in 1874; later he indicated that 432 Hz was slightly more optimal. It is this A=432 Hz standard that the Schiller Institute advocates, which does not align mathematically with their stated preference for C=256 Hz. French acoustic physicist Joseph Sauveur first researched then proposed the philosophical pitch standard in 1713, more than a century before Verdi began leading orchestras. Sauveur was strongly resisted by the musicians he was working with, and the proposed standard was not adopted. In 1999, the institute circulated a petition"
"notes from natural sources are usually a complex mix of many frequencies. Accordingly, theorists often describe pitch as a subjective sensation. Specific frequencies are often assigned letter names. Today most orchestras assign Concert A (the A above middle C on the piano) to the frequency of 440 Hz. This assignment is somewhat arbitrary; for example, in 1859 France, the same A was tuned to 435 Hz. Such differences can have a noticeable effect on the timbre of instruments and other phenomena. Thus, in historically informed performance of older music, tuning is often set to match the tuning used in the"
"typical pitch used to tune instruments. 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 evolution of traditional musical instruments slowed"
"uniformly, since the fundamental is chromatically discontinuous with the lowest 2nd harmonic reachable on a three-valve instrument or via the seven-position slide on a trombone. Trombone and tuba in particular are often called upon to play pedal notes (fundamental notes) and so-called ""false harmonics"" and ""false tones"" below their normal range. The modern standard orchestral horn is a double B/F horn. The player can switch between the two modes using a thumb-operated fourth valve. The fundamental pitch of the F horn is near that of the tuba. Horn notation is a complex subject beyond the scope of this article, but"
"have agreed on a standard of A = 415 Hz. An exact equal-tempered semitone lower than 440 Hz would be 415.30 Hz; this is rounded to the nearest integer. In principle this allows for playing along with modern fixed-pitch instruments if their parts are transposed down a semitone. It is, however, common performance practice, especially in the German Baroque idiom, to tune certain works to , approximately a semitone higher than 440 Hz (460–470 Hz) (e.g., Pre-Leipzig period cantatas of Bach). Orchestras in Cuba typically use A436 as the pitch so that the strings, which are almost impossible to obtain,"
"the frequency ratio between each pair of adjacent notes on the keyboard was made equal, allowing music to be transposed between keys without changing the relationship between notes. Pianos are generally tuned to an A440 pitch standard that was adopted during the early 1900s in response to widely varying standards. Previously the pitch standards had gradually risen from about A415 during the late 1700s and early 1800s to A435 during the late 1800s. Though A440 is generally the standard, some orchestras, particularly in Europe, use a higher pitch standard, such as A444. A stretched string vibrates in different modes, or"
"Concert pitch 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 musical history. In the literature this is also called international standard pitch. 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. The term ""concert pitch"" is also used to distinguish between the ""written"" (or ""nominal""), and ""sounding"" (or ""real"") notes of a transposing instrument – ""concert pitch"" here refers to"
"all the orchestral strings (violin, viola, cello) except the double bass, which is tuned in perfect fourths. Each subsequent note is stopped at a pitch the player perceives as the most harmonious, ""when unaccompanied, [a violinist] does not play consistently in either the tempered or the natural [just] scale, but tends on the whole to conform with the Pythagorean scale."" When violinists are playing in a string quartet or a string orchestra, the strings typically ""sweeten"" their tuning to suit the key they are playing in. When playing with an instrument tuned to equal temperament, such as a piano, skilled"
"100 beats per minute. There are, however, many and notable exceptions: see concert march and screamer. For the sake of band performers, especially altos, marches are typically written in flat keys. The keys of Concert F, B♭, E♭, and A♭ are the most frequently used. (NOTE: These refer to the key the march ""begins"" in, not the modulated key in the trio (see below)). Most marches follow a fairly strict structure. This structure is known as the march music form. The march music form's origins can be derived from the sonata form, as it shares similar ideas of contrasting sections."
"tune to an A provided by the oboist, wind ensembles usually tune to a B-flat provided by a tuba, horn, or clarinet. In Germany, Russia, Poland and Scandinavia, this pitch is designated B, with 'H' used to designate the B-natural. Since the 1990s, B-flat is often denoted Bb or ""Bess"" instead of B in Swedish music textbooks. Natural B is called B by Swedish jazz and pop musicians, but still denoted H in classical music. See B (musical note) for an explanation. B♭ (musical note) B (B-flat; also called si bémol) is the eleventh step of the Western chromatic scale"
"to the fundamental note of the unstopped, full string. The strings of a guitar are normally tuned to fourths (excepting the G and B strings in standard tuning, which are tuned to a third), as are the strings of the bass guitar and double bass. Violin, viola, and cello strings are tuned to fifths. However, non-standard tunings (called scordatura) exist to change the sound of the instrument or create other playing options. To tune an instrument, often only one reference pitch is given. This reference is used to tune one string, to which the other strings are tuned in the"
"conical bore (as opposed to the generally cylindrical bore of flutes and clarinets). As a result, oboes are readily audible over other instruments in large ensembles. The highest note is a semitone lower than the nominally highest note of the B clarinet. Since the clarinet has a wider range, the lowest note of the B clarinet is significantly deeper (a minor sixth) than the lowest note of the oboe. Music for the standard oboe is written in concert pitch (i.e., it is not a transposing instrument), and the instrument has a soprano range, usually from B to G. Orchestras tune"
"accompaniment becomes gradually thicker and louder until the whole orchestra is playing at the very end. Just before the end (rehearsal number 18 in the score), there is a sudden change of key to E major, though C major is reestablished after just eight bars. Six bars from the end, the bass drum, cymbals and tam-tam make their first entry, and the trombones play raucous glissandi while the whole orchestra beats out the rhythm that has been played on the snare drum from the very first bar. Finally, the work descends from a dissonant D-flat chord to a C major"
"would last longer. In 2015 American pianist Simone Dinnerstein brought attention to this issue and later traveled to Cuba with strings donated by friends. Concert pitch 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 musical history. In the literature this is also called international standard pitch. 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. The term ""concert pitch"" is"
"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. The pitch of an organ cannot be significantly changed without major work, as pipes need to be shortened or lengthened. Another important preparation step is to stabilize the temperature of the building in which the organ resides. Ideally, the temperature should be the same as that at which the organ will be typically used, and the temperature should have been stable for many hours before beginning the tuning. The reason for this is that the pitch"
"accompaniment (with its attendant constraints on pitch), most a cappella ensembles naturally tend toward just intonation because of the comfort of its stability. Barbershop quartets are a good example of this. The unfretted stringed instruments from the violin family (the violin, the viola, the cello and the double bass) are quite flexible in the way pitches can be adjusted. Stringed instruments that are not playing with fixed pitch instruments tend to adjust the pitch of key notes such as thirds and leading tones so that the pitches differ from equal temperament. Composers often impose a limit on how complex the"
"seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection. A full gamelan will include a set of instruments in each tuning, and classically only one tuning is used at a time. The precise tuning used differs from ensemble to ensemble, and gives each ensemble its own particular flavour. A set of gamelan instruments will be tuned to the same set of notes, but the tuning will vary from one gamelan to the next, including variations in the size of intervals. Colin McPhee , a Canadian composer who spent much time in"
"and the smallest have under four. Usually, the shortest keyboards were given extended range in the bass with a ""short octave"". The traditional pitch range for a 5-octave instrument is F–F (FF–f‴). Tuning pitch is often taken to be A = 415 Hz, roughly a semitone lower than the modern standard concert pitch of A = 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"
"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. Although the keys of C, G, and D appear frequently, blues fiddle, is very often played in keys more"
"from the F). The practice of ""not"" tuning the strings in order, from low to high, is known as ""reentrant tuning"". Reentrant tuning helps to achieve similar sounds between the downstroke and the upstroke on strummed instruments. The ukulele and 5-string banjo also use reentrant tunings, although with the first and last strings the higher pitched ones, unlike the low A and B of the cuatro. In fact, early ukuleles were tuned to a D f b, with the D the lowest note. (Currently ukuleles are usually tuned one note lower, g C e a, and some use a non-reentrant"
"parts of France to a′=465 Hz (""Cornet-ton"" pitch) in parts of Germany. Organs were often tuned differently than ensembles, even within the same region or town. The modern tuning standard of a′=440 Hz (c′=262 Hz) was proposed in 1939, and accepted by the International Organization for Standardization (as ""ISO 16"") in 1955 and again in 1975. 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"
"usually tuned a whole tone higher (F–B–E–A). This higher tuning is called ""solo tuning"", whereas the regular tuning is known as ""orchestral tuning"". Solo tuning strings are generally thinner than regular strings. String tension differs so much between solo and orchestral tuning that a different set of strings is often employed that has a lighter gauge. Strings are always labelled for either solo or orchestral tuning and published solo music is arranged for either solo or orchestral tuning. Some popular solos and concerti, such as the ""Koussevitsky Concerto"" are available in both solo and orchestral tuning arrangements. Solo tuning strings"
"organ. Once she has thought of a melody, she has to decide which instrument (or instruments) will play the melody. One widely used approach for a melody is to assign it to the first violins. When the first violins play a melody, the composer can have the second violins double the melody an octave below, or have the second violins play a harmony part (often in thirds and sixths). Sometimes, for a forceful effect, a composer will indicate in the score that all of the strings (violins, violas, cellos, and double basses) will play the melody in unison, at the"
"in large orchestras or musical bands, the larger sections of instruments, such as violins, cellos, clarinets, flutes, trumpets, or French horns often have music written in four-part harmony. Similar to vocal music, the first part for a section of instruments typically plays the melody line, in some passages of a composition, with the other parts playing the supporting harmonies. The third part is often a harmonic mirror of the first part, which will sound somewhat melodic as well (if played separately). However, the second and fourth parts usually play close harmonies, in a more monotonous range, and rarely sound as"
"for different purposes were often tuned to different pitch standards, called ""Chorton"" (""choir pitch"") and ""Kammerton"" (""chamber [music] pitch""). When they played together in an ensemble, the parts of some instruments would then have to be transposed to compensate. In many of Bach's cantatas the organ part is notated a full step lower than the other instruments. See pitch inflation. A few early-music ensembles of the present day must do something similar if they comprise some instruments tuned to A415 and others to A440, approximately a semitone apart. Modern builders of continuo instruments sometimes include moveable keyboards which can play"
"notes). In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In modern times, 12TET is usually tuned relative to a standard pitch of 440 Hz, called A440, meaning one note, A, is tuned"
"is notated as note with ""7"" written above the flat. The harmonic seventh is also expected from barbershop quartet singers when they tune dominant seventh chords (harmonic seventh chord), and is considered an essential aspect of the barbershop style. In ¼ comma meantone tuning, standard in the Baroque and earlier, the augmented sixth is 965.78 cents – only 3 cents below 7:4, well within normal tuning error and vibrato. Pipe organs were the last fixed-tuning instrument to adopt equal temperament. With the transition of organ tuning from meantone to equal-temperament in the late 19th and early 20th centuries the formerly"