Understanding Tunings: A=440, A=415, A=392, A=466, and More

For musicians, understanding the difference between tunings is essential, especially if they are involved in Historically Informed Performances or working with ensembles specializing in early music. The numbers denote the frequency in Hertz (Hz).

A=440

TL;DR: Gamut violin and viola Tricolore strings are designed for A=440 tuning, as are Academie Renaissance lute, vihuela, classical guitar, and banjo strings, and Red Diamond Gut Bass Strings.

A=440 (440 Hz), also known as “Concert Pitch,” “Stuttgart Pitch,” “Scheibler Pitch,” “Pitch Standard,” or “Modern Performance Practice” is the standard tuning used in most Western music today. It means that the A above middle C is tuned to 440 Hz. This standardization allows for consistency in musical performance across different instruments and ensembles.

A=415

TL;DR: Most* Gamut Academie strings are designed for Baroque instruments by those musicians playing Historically Informed Performance practice at A=415 tuning, and are perfectly suitable for modern A=440 practice, but the result will be a little bit more tension at A=440. (*Academie Renaissance lute, vihuela, classical guitar, and banjo strings are designed for A=440 tuning.)

A=415 (415 Hz), on the other hand, refers to a lower pitch. It means that the A above middle C is tuned to 415 Hz. This tuning is commonly associated with Historically Informed Performance practice, particularly music from the Baroque period and earlier. During these eras, instruments were typically tuned lower than the modern standard of A=440. Composers like Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi wrote their music with the expectation that it would be performed at A=415 tuning.

Instrumentation: Many historical instruments, such as Baroque violins, violas, viols, and cellos, are designed to be played at A=415 tuning. These instruments often have different construction and materials compared to their modern counterparts and produce a warmer, richer sound when tuned to A=415.

Ensemble Considerations: When performing in ensembles specializing in early music, such as Baroque orchestras or chamber groups, it’s common for all instruments to be tuned to A=415 to achieve stylistic coherence and authenticity. This ensures that the pitch relationships within the music remain faithful to the composer’s intentions. A=415 tuning can significantly affect the tonal characteristics of music. Lower tuning can impart a mellower and more relaxed quality to the sound, which is particularly suitable for music composed before the widespread adoption of A=440 tuning standards. Performers working with A=415 tuning may need to adjust their instrument, playing techniques, and interpretations to accommodate the tonal nuances associated with this lower pitch.

Modern Applications: While A=415 tuning is primarily associated with Historically Informed Performance practice, some modern musicians and ensembles also explore its use in contemporary contexts. Experimenting with lower tunings can offer unique sonic possibilities and artistic interpretations, even in music composed for A=440 tuning.

A=392

In addition to A=440 and A=415, another tuning standard used in Baroque music repertoire is the even lower pitch A=392 (392 Hz) tuning. This tuning was prevalent during the French Baroque period, particularly in the late 17th and early 18th centuries. Composers such as Jean-Baptiste Lully, François Couperin, and Jean-Philippe Rameau wrote their music with the expectation that it would be performed at this lower pitch.

Instrumentation: Like A=415 tuning, A=392 tuning requires specific instruments or modifications to achieve the desired pitch. Instruments designed or adjusted for A=392 tuning produce a warmer and fuller sound compared to their counterparts tuned to higher pitches. Instruments may require adjustments in string tension, bridge, or bore size to accommodate A=392 tuning effectively.

Ensemble Considerations: Performing music in A=392 tuning requires a nuanced approach from musicians. The lower pitch affects not only the overall tonal quality but also the tuning of intervals and the balance between different voices or instruments within the ensemble. Musicians must adapt their playing techniques and interpretations to suit the specific characteristics of A=392 tuning, emphasizing warmth and resonance in their performances.

A=466

While A=440, A=415, and A=392 are commonly discussed tuning standards, another significant tuning standard in early music is A=466 (466 Hz), particularly associated with the Italian Renaissance period, roughly spanning the 14th to the 16th centuries. This tuning standard was used for vocal and instrumental music, including sacred and secular works by composers such as Giovanni Pierluigi da Palestrina, Josquin des Prez, and Claudio Monteverdi.

Instrumentation: Instruments in the Italian Renaissance, including strings, woodwinds, brass, and keyboards, were designed or adapted to accommodate A=466 tuning. These instruments produce a distinctive sound characteristic of Renaissance music, with a focus on clarity, purity of tone, and vocal-like expression.

Ensemble Considerations: Performing music in A=466 tuning requires careful attention to intonation and balance, as the higher pitch can affect the tuning of intervals and the overall sound of the ensemble. Musicians must adapt their playing techniques and interpretations to suit the specific characteristics of A=466 tuning, emphasizing clarity, precision, and expressiveness in their performances.

Understanding the nuances of different tuning standards — A=440, A=415, A=392, and A=466 — is essential for music performers, particularly those engaged in Historically Informed Performance practice or working with ensembles specializing in early music. Each tuning standard carries unique historical and sonic characteristics that shape the interpretation and performance of music.

Below are additional outliers of historical pitches, well before the adoption of organizationally-recognized “standard pitches.”

A=430 (“Classical Pitch”)

A=430 (430 Hz) is a tuning slightly below today’s A=440 standard, and is often used for Mozart and Haydn because late-18th-century sources show the “Classical era pitch” was in the 420–430 Hz range rather than one exact number. Historically Informed Performance ensembles often choose A=430 for their Classical programs, especially when aligning with period keyboards and winds.

History: Surviving tuning forks and descriptions from the end of the 18th century show wide variation (400–450 Hz), so A=430 is a midpoint that lines up with Classical-era evidence and current HIP practice, as cities and seasons differed, and there was no single universal pitch at that time.

A=435 (“Diapason Normal,” “French Pitch,” or “Continental Pitch”)

A=435 (435 Hz) was established by French law in 1859, and further codified at the 1885 Vienna Conference. Diapason Normal became the standard in Italy, Austria, Hungary, Russia, Prussia, Saxony, Sweden, and Württemberg (thus, “Continental”) by the end of the 19th century, and helped to curb the “pitch inflation” of earlier decades.

History: French law assumed a cool concert hall air temperature of 15°C. A more comfortable 20°C room temperature yields a pitch of A=439, which explains Britain's later adoption of the “New Philharmonic” A=439 pitch in 1896.

A=460–470 (“Chorton,” or “Choir Pitch”)

A=460–470 (460–470 Hz) is a high church organ pitch family, typically around A=464–466 in Bach’s time. It coexisted with the lower A=415 pitch for instruments and singers, allowing for transposed parts when the organ played with chamber ensembles; this “two-pitch” setup was common in central Germany.

History: Measurements of Leipzig organs and surviving cornetts of the era show a pitch of A=464–466, and some modern Baroque-style organs are build with Chorton Pitch to reflect this practice.

A=390–403 (“Tief-Kammerton,” or “Low Chamber Pitch”)

A=390–403 (390–403 Hz) is a lower pitch found in German-speaking regions around the time of Bach, alongside A=415.

History: Repertory lists from the time show ensembles selecting among multiple chamber pitches (A=392, A=403, A=415) depending on locale, the organ, or the choir — think of “low” not as a fixed number, but a documented pitch range used according to local conditions and available instruments.

A=465 (“Italian/Venetian High Pitch”)

A=465 (465 Hz) was used in Venice and other Italian regions during the late Renaissance and early Baroque periods.

History: Early Italian music programs may use A=460–466, and lutenists will sometimes align with this pitch when the repertory or venue dictates. Surviving cornetts, sackbuts, and organ evidence point to this higher pitch in several Italian centers.

A=439 (“New Philharmonic Pitch”)

A=439 (439 Hz) at 20°C room temperature was adopted by the Royal Philharmonic Society of the United Kingdom in 1896 to replace the earlier A=452 “Old Philharmonic” pitch.

History: The A=439 pitch comes from converting the French A=435 “Diapason Normal” pitch at 15°C to a room temperature of 20°C. While the difference between A=439 and A=440 is negligible, it is historically significant as the organizational standard that paved the way to today’s A=440 pitch, which became widely adopted in the 20th century.

A=432 (“Scientific Pitch,” “Philosophical Pitch,” or “Verdi Pitch”)

A=432 (432 Hz) is a later pitch that historically was not broadly adopted as a standard. It is often linked with the older “scientific” idea of setting middle C to 256 Hz, but in practice 19th through 20th century standards centered on A=435 and later A=439/440.

History: Verdi advocated for lower pitch in Italy in the 1880s, and modern groups have promoted A=432, but official standards moved toward A=435 and then A=439/440. Today A=432 remains a minority, preference-based choice rather than a historical norm.

More information about Historically Informed Performance practice can be found on our FAQ/Articles page.