more microdoodling

Haverstick again...sorry for the rapid departure...I want to finish
my train of thought. It's important to say that this commentary is
not meant to hurt or offend...hopefully, it's seen how I intend it,
as a call to action on the part of those who wish to see this move-
ment spread and become successful. My feeling is this...if you want
to bridge the gap between music theorist and musician, than more
attention needs to be given to the physical/creative demands of
actually putting one's ideas across in the real world...there's a
lot of great 12 tone musicians out there, and very few great non
12 players...I think this is fact, and I hate to say it. One of
the qualities of a great artist, I feel, is the capacity to absorb
constructive criticism and profit from it...I know my teachers were
very tough on me, and gave no quarter...I personally prefer that
way of learning. Well, I think it's time for us microtonal folks
to make a strong atatement to the world at large that we have a valid
thing going here that is worthy of serious attention...unfortunately,
I don't think we have a lot of musical firepower at this point to
get the job done. So, again, I suggest a simple solution: practice
and study, and get those choppos up to the level of the best 12 tone
players, so we CAN be taken seriously...theory is wonderful, but
MUSIC is the goal, for me, at least, and I WANT to hear my fellow
microdudes doing some scary stuff...alas, as I said, a lot of the
music in the field is only fit, I think, for demonstrating theories
of tunings, and will not impress folks who could give a poot about
anything but the final result, which, again, is music...
I recall seeing my teacher, George Keith, at a jazz jam one night,
and he did one of the greatest solos I've ever heard...in Kansas City,
Ed Toler used to make me shit on a regular basis...Buzz Evans about
blew me off the stage once at a country bar, and my friend Bobby
Hornbuckle here in Denver is a scary bluesman, one of the best I've
heard...I used to practice 8-12 hours a day to get it going, and
I don't think that is a bad idea for anyone, especially for those
who may think that they are doing something cool by doodling on a
non 12 scale for a few moments and thinking they are making a pro-
found statement...I am not impressed by this school of music, and
as I said, I can't even play a lot of this stuff for people because
it isn't happening...and believe me, my teachers were a lot more
blunt than this when they were trying to help me develop as a player.
I hope to hear non 12 music which makes my hairs stand up...come
on, guys...Hstick

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I am a woman! I'm mostly concerned with working with children as a
Kodaly trained music educator, and having written a thesis on the
pedagogy of just intonation in choral music, work a lot in very subtle ways
with intonation exercises with children from 3 years old, with singing
games based on pure intonation of falling minor thirds (easiest to sing
purely at that age) and with my older children in a special music program
at a primary school where the children have daily music classes, building
triads in ways that allow them to hear the overtones and tune to each
other. All very practical, although I have interest in the philosophical
domain as well (part of my thesis was a history of ideas about tuning) I
don't contribute a lot these days, as I am also training as a
psychotherapist and researching new psychologicala domains and very
busy!!!!
One thing I am not, is a composer, and also not so interested in the
instrumental as the vocal domain of music making.
>From a woman...



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