TUNING digest 1139 (?'s for Gary Morrison)

Hello Gary - thanks for responding -

> Here's a brief rundown of the nature of my microtonal music:
>
> Most of it is in a "classical" style, in the general sense of the
word,
>and it's generally fairly conventional except for the the tunings. I
>mostly write for small ensembles of orchestral instruments.

What sort of tunings? ET's or just?
What sort of technical restrictions do you run into with various
instruments (and their related performers)?
For example - with unconventional woodwind fingerings, 1) are there
problems writing more virtuosic material requiring them (I know
from playing flute that some alternative fingerings can be pretty
cumbersome) 2) are there problems acheiving precise intonation
with them (since not all alt. fingerings are dead on)?
If your music is just, 1) do performers grasp the concept pretty
quickly and tune by ear, or do they need to think in terms of
deviations from 12ET; 2) how high a prime limit do you use, and
what are any difficulties you have with higher primes; 3) how
beat-free is the result in performance; 4) how much does tradi-
tional expressivity (vibrato, etc.) intefere with pure tuning,
or, conversely, how much can it be cautiously applied while
leaving theoretical niceties audible?
I'm just curious with what your experiences have been performing your
music, positive or negative.
Thanks, Chris


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