teaching tunings

Haverstick here...Paul E's layout of his proposed tuning course was
monstrous...hard to beat that one. Of course, I teach a lot, and my
way of dealing with teaching tunings is pretty modest...since many
of my students study blues, alternate tunings is not even our main
focus...I have to introduce the subject on the side, sort of...and
I must say the response is very positive. At my stage of the tuning
game, I think of myself as sort of an advanced beginner anyway, and
I am fortunate to get to hang with the heavy dudes in the tuning arena;
my studies continue always.

So, I am happy just to introduce people to the basic ideas of the whole
shebang, and if something develops from there, we'll deal with it. One
of the interesting things about my school gig is the wide range of folks
I teach, from 12 year old rock enthusiasts, to 49 year old blue collar
guys that want to learn some Albert King licks...by letting "ordinary"
folks know about this wonderous world of sounds and tunings, it becomes
a more natural thing, and if it feels natural, it's easier to accept.

By playing blues and other traditional styles in other tunings, on gigs
we do around town, brings things right down to street level, and puts it
where it belongs, of course. If a kid of 12 (or 7, as my daughter is)
can dig it, the sky's the limit. And I'm sure, as my comfort level rises
with tunings, my methods may change as well. An idea like Paul's is not
too far fetched...we just need enough people to come to the class. By
showing folks the utter reality that 12/eq is only one of MANY tuning,
we get them to thinking in a new way about music...then, someday soon
there will be music in the air in other than the dreaded 12/oct. Hstick

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"Make something up...erroneous reporting" ?

I know Jon is sincere is his challenge to uphold Partch "attitude" as he
sees it. Those on the list that have heard my Partch performances know
that the only substitution I use is the synthesizer for the
Chromolodeon. While the sweat and muscle of the Chromo is romantic
elder Partchians, the synth allows for necessary production of the many
written notes on the scores.

Does this matter - that the notes are heard and are balanced with the
others in the group? Well, the poor amplification used in Philly would
seem to equate all the instruments on an electric level. And there was
no synth through much of Partch's life, so Partch might well have evolved
towards it, just as moved towards percussion and away from poorly built
guitars.

To fabricate my experiences at the Philly concert would be silly since so
many were there. To my eyes, the instruments were not visible...and they
never moved. Jon states he was "almost" on eye level with the second
story. The view from the audience was a different perspective. Is this,
or is the following concert version in Lincoln Center merely the
exceptions that prove the rule? Was the rush to Lincoln Center an
expedience that Danlee could not turn down?

Having read as much of the material produced by Partch as just about
anyone, I came to different conclusions, buttressed by post-Partch
attitudes and behavior. It may be convenient to dismiss early errors of
judgement in what should be allowable for Partch performances, but to me
these are hipocritical. A wise man once said "Your actions speak so
loudly that I can't hear what you are saying." BTW, haven't performed
Partch works in over 2 years...no rush.

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@ios.com


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