Traditional instruments used microtonally

Two German references, perhaps unfamilar abroad, might be useful to
composers or players. =

The first is Peter Veale's book (with composer Claus-Steffen Mahnkopf) on=

Oboe technique, which includes fingerings for an eighth-tone scale. =


The second is Christoph Reiserer's article ''Neue Klangpha''nomene:
Griffbestimmte Spieltechniken auf dem Saxophone'' (New Sound Phenomena:
Fingering-determined playing techniques on the Saxophone) in the current
(Heft 72, November 1997) issue of _MusikTexte_. This article is a summary=

of general principles. Several references are made here to the
dissertations of Ronald L. Caravan (U. Rochester 1974: _Extensions of
Technique for Clarinet and Saxophone_) , and Charlotte Hoppe (U. Hamburg
1989, pub. Frankfurt 1992: _Die instrumentale Revolution: Entwicklung,
Anwendung und A''sthetik neuer Spieltechniken fu''r Rohrblattinstrumente_=
),
neither of which I had previously encountered. =



At present, I am writing a piece for solo trumpet, orchestra, solo rebab
and gamelan. I have been pleased to find out how useful alternative
fingerings for valved brass can be. While most players can easily lip up =
or
down a semitone or more, alternative fingering based upon the fifth and
seventh partials (that is, starting with the written bb' fingered 123
instead of 100) can be quite useful in orienting the player and
articulating passages where the composer wants to create runs ''between t=
he
cracks''. Until trumpeter Edwin Harkins finishes his long-promised book o=
n
new trumpet techniques, we can make do with his performance of Erickson's=

_Kryl_, which is a fine example of microtonality derived entirely from th=
e
characteristics of a given instrument, as opposed to a precompositional
scheme.


SMTPOriginator: tuning@eartha.mills.edu
From: "Mr. Touchless"
Subject: Re: Autoharp and Woodwinds
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