composing in non 12et

Stephen Soderberg asked about serial techniques in other temps...my
piece "Spider Chimes" is in a 19 tone serial bag, in one spot using all
19 tones before one repeats; in other parts of the tune there's 16
tones. I think a 34 tone serial row would be a hoot...perhaps in the
future.
My approach to composition in non 12 tunings is to go with what the
tuning gives you; I trust my intuitions, but will fall back on
intellectual devices if I need ideas. My method of writing is totally to
go with what the particular piece needs; in this way, I am free to draw
on many stylistic forms. Chords, modes, consonance, dissonance; all of
these concepts are in the service of the final result, which is to
express something. I'll use whatever I need to express what's coming
through at any particular time...keeps me from getting into ruts...Hstick


SMTPOriginator: tuning@eartha.mills.edu
From: Johnny Reinhard
Subject: Re: Autoharp and Woodwinds
PostedDate: 17-11-97 13:58:29
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Dear Erik, Johnny & other Tuningers,

Erik Nauman wrote:

>Obviously this doesn't qualify as a traditional
>classical instrument if that's your range, but if this is of
>interest to you I can certainly tell you more and send you a detail
>description of the adaptation process I worked out.

Thanks. I would love to recieve something about what you're doing -
but yes, it is outside the scope of what I can concievably spend much
time on at this point. My home address is 97, Onley Street, Norwich,
NR2 2EA, UK if what you might send doesn't fit in a virtual post box.

Johnny Reinhard wrote :

>There is nothing impossible to accomplish with reliability and
>evenness of tone on the clarinet.

Do you really think this is true, Johnny? Firstly, let me say, I am
not a woodwind player (I studied oboe as a kid). But I know very
well the amazing things that some virtuoso contemporary wind players
can do these days - whether it's Ferneyhough, Nono, Holliger etc.,
for quarter-tone stuff, or more radical (from a tuning point of view
at least) such as Ian Grietzer's playing of Sim's 72-ET quintet, or
31-ET, or whatever. (I have the manuals from your Pitch No4 of
course).

However, I do see great value in building new instruments. New
physical design, placing of tone-holes, fingering (possibly greatly
simplified with electronic interfaces for purely acoustic
instruments) etc would give a more accurate pallette, (ie designedly
'centred' pitches), improved tonal charateristics, and greatly
improved facility. For example, fast scale passages in n-ET (ie.,
non-12-ET) would be audibly improved; orchestral players, who are
not virtuosi, would be able to play n-ET or n-JI, thus integrating
the exploration of ATS somewhat deeper into the musical fabric... And
new extended techniques will doubtless be explored too...

> Oboe: If the musical ear hears the relationship, the oboe is quite obediant.

But, would it be preferable to have an instrument that that actually
confirms the scale in the ear and mind of the performer, rather than
one which is 'quite obedient'?

Let me put it another way. Suppose that Western music had evolved
such that, today, 19-ET was the standard to which woodwinds (and all
other fixed or semi-pitched) were built. (Leave aside for a moment
whether this is a legitimate hypothesis). Then some crazies come
along and say "Hey man, we wanna play music in 12-ET - it sounds real
good!" And then, the most brilliant, spend years struggling with
playing this darned 12-ET thing on their 19-ET instruments...

Sure, 12-ET and 19-ET have special similarities, that's why the story
sounds vaguely plausible. But they are just similarities. To really
realise these things in all the beauty and clarity we hear in very
good performances of works in conventional tuning.... well, IMHO, we
are (in general) way off, so far... However, of course, I have yet
to get over to NY and come and hear you guys and girls.

Patrick Ozzard-Low

PS. Does AFFM have some CDs out which will help me learn the error
of my ways?


SMTPOriginator: tuning@eartha.mills.edu
From: Daniel Wolf
Subject: Traditional instruments used microtonally
PostedDate: 17-11-97 15:46:15
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>
>Johnny Reinhard wrote :
>
>>There is nothing impossible to accomplish with reliability and
>>evenness of tone on the clarinet.
>

Well, all right. It is also true that some humans can run the minute mile
but I won't be giving up public transportation just yet. Yes, some
super-powers of the clarinet world can easily play any composition in any
intonation but will these super-powers play your piece? Can you afford to
employ them? They are the creme-de-la-creme so they don't come cheap. If you
can make an instrument that plays in the intended scale for you, then why
not?

Mr. Touchless
www.sirius.com/~touchles/poetry.htm


SMTPOriginator: tuning@eartha.mills.edu
From: Steven Rezsutek
Subject: Update and correction re Cheap Xen Keyboard
PostedDate: 17-11-97 17:40:58
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