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For some instruments, A makes more sense. IIRC the F# on saxophones is more in tune than the G, generally, so concert A makes more sense for the alto and bari.

Horn, too, for that matter, since E is open bugle and F is not.

Classic FM did an article last year on orchestral tuning, and this is what they said about A:

Conveniently, every string instrument has an A string. So it makes sense for string orchestras to tune to the open A string of the first violinist. And as other families of instruments have joined the orchestra over the years, they followed suit.

Basically, a combination of tradition and strings being the only instruments always there.

Full article

That also includes why we use the oboe still.

It's an orchestra thing...

Two (or sometimes even three) A's get played by the oboe: one for strings, one for winds, one for brass (often everyone jumps in at that point). As to why there isn't a B-flat given for the brass, my understanding is because the pitch is based on A=440 (or 441, 442, etc.) and the string instruments all have A strings - so the tuning system is built around that - and the brass just have to deal and tune to that.

In a band environment, it would actually make more sense to do a concert B-flat and/or a concert F rather than a series of A's. The ones that still play A's seem to do so just because the symphony does it.

EDIT: Yep, basically what The Brute Squad and the article he linked to says. I was typing up my response while that was posted.

Most if not all serious players in orchestras and bands have their own tuners, and have probably already warmed up and tuned by the time the "tuning note" is given. I was taught in college that it is given more to "confirm" tuning than to actually tune. Tuning a stringed instrument really can't be done in a 5-10 seconds, so it's really just a final check.

And while I'd love a Bb, it really only makes sense for instrument that have a Bb "home" note.

On the "A" tangent --

I was at a Steve Turre class (trombone with SNL band) and he and his jazz combo (drums/bass/guitar/piano) tuned to an A from the piano. I asked why he used an A instead of a Bb, and after joking, "Because I want to," he said that it's the better note for the stringed instruments; and besides, although a trombone's 2nd position is pretty fluid, he can still tune it in 1st position by playing a D in the chord.

bloke wrote:"Tuning notes" are nonsense.
They are a complete waste of time for competent musicians, and even more of a waste of time for incompetent musicians.

This is why I keep coming back to TubeNet.

I asked John Falskow, the conductor of the Seattle Wind Symphony, about this.

John Falskow wrote:I have heard from some musicians that they prefer A. As mentioned in the thread, there is orchestra tradition, and also some good instrument specific reasons why A might feel like a better pitch to tune. As a brass and band guy, I like Bb. I figure there's no harm in trying to give people what they want, and give two pitches.

I, and all of the brass, tune to the Bb, but a lot of the woodwinds and the string bass tune to the A.

My college band director was highly in favor of tuning flutes to an Eb (all fingers down and overblow the octave). Since A, Bb, B, C, and C# are in the most unstable pitch range of the instrument, he felt you should teach students to play from the stable range and tune the more unstable notes to the stable range pitches. It's both mechanical tuning and teaching students to use their ears to adjust.

SteveP wrote: Yeah, tradition. The trumpet players in our local orchestra really wanted a Bb but the concert master would absolutely not allow it except outside the audience's hearing. Only A's on stage.audience's hearing. Only A's on stage.

Well you don't want the audience worried that the brass section is starting off a half step out of tune...

I would agree with Bloke that the tuning notes have little value for the people on stage. But perhaps the best reason for still going through the motion is to get the audience quiet.

Think about it; we are conditioned to respond to certain stimuli. The audience may be jabbering away, but when that tuning note is sounded, the crowd falls into an obedient silence. Then after the usual cacophony of arpeggio riffs, the conductor silences the musicians. That silence before the first downbeat is a rare shared experience, where everyone in the concert hall is doing the exact same thing.

acemorgan wrote:I would agree with Bloke that the tuning notes have little value for the people on stage. But perhaps the best reason for still going through the motion is to get the audience quiet.

Think about it; we are conditioned to respond to certain stimuli. The audience may be jabbering away, but when that tuning note is sounded, the crowd falls into an obedient silence. Then after the usual cacophony of arpeggio riffs, the conductor silences the musicians. That silence before the first downbeat is a rare shared experience, where everyone in the concert hall is doing the exact same thing.

Upvoted for best answer.

SteveP wrote:Yeah, tradition. The trumpet players in our local orchestra really wanted a Bb but the concert master would absolutely not allow it except outside the audience's hearing. Only A's on stage.

And with all the stuffiness of all orchestras, of which this is a symptom, the orchestras wonder why attendance is down, when with all sorts of other local groups of other genres who don't give a r**'s a** about what their tuning routine sounds like, attendance is up.

I will just add a couple points:
In the modern full-time orchestra A is almost NEVER = 440, but something above that.
In the brass, nothing but the trombone section are likely playing Bb instruments

bloke wrote:"Tuning notes" are nonsense.
They are a complete waste of time for competent musicians, and even more of a waste of time for incompetent musicians.

Oh thank you for saying that. It's almost just like the aural equivalent of flashing the lights for the audience. Hey, shut up, we're ready to play.

Even worse than the tuning notes themselves is the noodlers... tuning nooooooooote... then arpeggios, some nonsense slur of notes, fingerings, etc.

And even worse than that, practicing difficult passages on-stage immediately before the performance. If it ain't under your fingers by then, it ain't happening!

bort wrote: And even worse than that, practicing difficult passages on-stage immediately before the performance. If it ain't under your fingers by then, it ain't happening!

Yeah...don't be that guy. Usually all you're doing is telling the audience to watch you crash and burn when you get to the part that you can't quite play.

djwpe wrote:

bort wrote:
And even worse than that, practicing difficult passages on-stage immediately before the performance. If it ain't under your fingers by then, it ain't happening!

I wish I had known that last Friday. I would’ve lambasted Joe Alessi for running through the hard licks from Symphonie Fantastique after intermission.

Sounds like that Joe guy needs more practice.

Look, I'm just saying, it's kind of silly to me to hear it as a warm-up, before hearing the actual thing. Maybe it's just me!

I really don't like people that do that either, even if they are a majorly well-known and famous professional with one of the best orchestras in the world.

It's almost like spoiling the surprise. Don't sit there and go through the main themes during intermission.

bort wrote: Look, I'm just saying, it's kind of silly to me to hear it as a warm-up, before hearing the actual thing. Maybe it's just me!

My junior high band director had a rule to never play any licks from the music while warming up on stage. He didn't want to give away any surprises to the audience. I've stuck with that rule ever since.

I was taught - and I firmly believe - that you warm up back stage, that you arrive on stage prepared to behave like a professional, and that you refrain from showing off or trying to learn how to play in front of a live audience.

A couple of notes to check the acoustics of the hall are permissible. After that, shut up.

I am aware that fashion has changed and even good groups commonly blast away in full view. For shame!