Re : [tuning] Hoogewerf expertise required [guitar]

> Johnny Reinhard has some interesting thoughts on writing for guitar...
> I was wondering if Wim Hoogewerf, who is our resident "expert" had any
> thoughts or comments on Johnny's system....

Sorry Joe, I'm a bit 'silent' these days. Means I'm really working a lot.
But of course, this is a subject of very close interest to me.

The open tuning Johnny Reinhard gives as an example is a good one, but still
only one of the numerous possibilities. The D major chord provides a steady
base upon which notes from the 2nd or 1st string can be added in a colourful
way. The triad D-B-E quarter tone flat gives an authentic 'church
bell'-sound. Even if it's not the one from Nôtre-Dame or Saint-Sulpice in
Paris.

By coincidence I will use a 12tet guitar with unconventionally tuned open
strings on two coming concerts:

Monday 27 March, 8pm, Le Trianon in Paris: a free concert by the Ensemble
2e2m with Martin Smolka's "Lullaby" for trombone and ensemble. The guitar is
tuned as follows: E+33, A, C-50, F#-33, B, D-50. I have to play only
harmonics on 1/2, 1/3, 1/4 and 1/5th part of the string length. The trombone
solo is played by Michael SVOBODA, an amazing soloist to whom microtonality
has very few secrets.

Thursday 30 March, 7pm, Espace Philippe-Auguste, 27200 Vernon, France, I'll
accompany mezzo-soprano Armelle Orieux. She will sing a poetic text in Inuit
language, set to music by Pascale Criton. 12tet fretted guitar, stringed
with six identical A strings, type Augustine Red and tuned as follows:
A#, A#+17, A#+33, A+50, G#+67, G#+83 (a 12th tone system or 72tet). Armelle
has an Arabic cultural background and is particularly fond of microtonal
fluctuations.On the same concert will perform Aaju Piita, singing original
Inuit songs, playing herself on a sort of hand drum. I'm looking forward to
hear her sing.

--Wim Hoogewerf

> Johnny Reinhard has some interesting thoughts on writing for guitar...
> I was wondering if Wim Hoogewerf, who is our resident "expert" had any
> thoughts or comments on Johnny's system....

Sorry Joe, I'm a bit 'silent' these days. Means I'm really working a lot.
But of course, this is a subject of very close interest to me.

The open tuning Johnny Reinhard gives as an example is a good one, but still
only one of the numerous possibilities. The D major chord provides a steady
base upon which notes from the 2nd or 1st string can be added in a colourful
way. The triad D-B-E quarter tone flat gives an authentic 'church
bell'-sound. Even if it's not the one from Nôtre-Dame or Saint-Sulpice in
Paris.

By coincidence I will use a 12tet guitar with unconventionally tuned open
strings on two coming concerts:

Monday 27 March, 8pm, Le Trianon in Paris: a free concert by the Ensemble
2e2m with Martin Smolka's "Lullaby" for trombone and ensemble. The guitar is
tuned as follows: E+33, A, C-50, F#-33, B, D-50. I have to play only
harmonics on 1/2, 1/3, 1/4 and 1/5th part of the string length. The trombone
solo is played by Michael SVOBODA, an amazing soloist to whom microtonality
has very few secrets.

Thursday 30 March, 7pm, Espace Philippe-Auguste, 27200 Vernon, France, I'll
accompany mezzo-soprano Armelle Orieux. She will sing a poetic text in Inuit
language, set to music by Pascale Criton. 12tet fretted guitar, stringed
with six identical A strings, type Augustine Red and tuned as follows:
A#, A#+17, A#+33, A+50, G#+67, G#+83 (a 12th tone system or 72tet). Armelle
has an Arabic cultural background and is particularly fond of microtonal
fluctuations.On the same concert will perform Aaju Piita, singing original
Inuit songs, playing herself on a sort of hand drum. I'm looking forward to
hear her sing.

--Wim Hoogewerf