Microtone harp?

Get a deaf harpist and you won't have the problem of it sounding differently to her/him than what the notes look like :P

Poor harpist in any case :angry:

Sorry to rain on your parades, but I don't think a quarter-tone harp is really a good solution. If you are planning on using quarter-tones in a harp solo line, then it would be tragically unavoidable to use quarter-tones in the rest of the orchestra's parts. Having an entire orchestra that is dealing with many quarter-tones is pretty much impossible due to many people not being able to play them together perfectly.

Well, it's also very possible if you're using a string orchestra, too, especially since many good string players (even if conservative in general) are comfortable with using quarter-tones.

(Me, not included, since I'm not one of the "good string players" mentioned anyway. :P)

I'm not saying that it is impossible to write music with lots of quarter-tones, just impractical because the people that aren't able to play them perfectly will make everyone sound out of tune. I simply think that it is more practical to use enharmonic tones.

Well, if you want that sound, sure. Just tell the many composers who've done it successfully that it's impractical. :P

Sure there have been many composers who have done it successfully; it doesn't take too much effort to write in a double flat. I am more concerned about the orchestras who attempt to play it successfully. I wish them the best of luck because to get a sea of instruments to play quarter-tones (some of which, like the harp, can't to begin with) is difficult and can lead to mass chaos.

I believe it is the job of the composer to consider who is going to be playing his/her works and if it is logical to make that orchestra play those particular notes.

As a side note: there couldn't have been too many composers who used quarter-tones a lot in their works or else one of them would have invented a quarter-tone harp.

Harps, like pianos, can be tuned to anything your little heart desires. I feel quarter tones are common enough (there's an example in Adler of a quarter-tone alteration on harp, if i remember right) that they're certainly available.

(there's an example in Adler of a quarter-tone alteration on harp, if i remember right)

Just tune a 2nd Harp a quarter tone different, that's it.....write the score in C, and let the Harpist play normally, (the transposition will be automatically like Clarinet in Bb or Horn in F)...

...in other words, have 1 "Harp in C" and 1 "Harp in C quarter sharp" * .... no problem at all.

(just remember the 2nd harp is sounding a quarter tone up)

* I know those names sound weird but that's the way to call them.

Now THAT's a nifty idea.

Wow! I haven't been on the computer in a few days, nor have I checked this site in about a week or so, and here sit all of these very helpful/inspiring answers/ideas.

As for the problem of having a full orchestra (which is what I'm dealing with) working with quartertones, one would think that having an instrument, like the harp, that requires no intonation while performing would be a very dependable resource. It might even be a conceivable idea to make a cue of some sort for the instruments that do require intonation to match (or compare with) the harp in a passage involving quarter tones. I also think that idea of naming the 2nd harp as a transposing intrument is a solid idea.

I'd be interested in knowing what Adler peice you're speaking of, 'Ferkungamabooboo'.. sounds interesting!

As a composer who has worked very closely with a harpist on (admittedly tonal) music, I am very much in agreement with Gardener's approach.  I've thought of this approach, before, myself.  Yes, it will leave some holes in the 24-TET multi-octave scale, but good planning by the composer will help greatly.

I'm only now dipping my toes into the problems of quarter-tone orchestral writing that (hopefully) won't be a disaster.  Bowed strings with their unfocused mass (relative to woodwinds, etc.) and vibrato supposedly make for more convincing performances of quarter-tone harmonies.  However, I fear that even professional-level players will be aurally disoriented by the intervals.  One possible solution is to use a harp (treated in Gardener's way) to provide a subtle undercurrent of solidly plucked pitches to help orient the ears of the bowed string players.  Just a thought...

That said, I can speak from experience on the matter of the challenge of "mixed scordatura", which is to say scordatura that varies among the individual strings of a multi-stringed instrument:  I composed a short duo for violin and viola - both with mixed scordatura so as to facilitate a Pagannini-ish (albeit much slower) simultaneous left-hand pizz with right-hand bowing of just the right pitches, as well as to facilitate certain quick double-stops to effect four-part polyphony (canons) between the two players.  To be safe, I provided TWO versions of the score and parts:  One version expressed the notes corresponding to standard fingering.  The other version expressed the actual sounded pitches.  Initially, the producer forwarded only the version that expressed the fingering (not the sound) - and soon I got the panicked e-mail because the players have perfect pitch and were thoroughly confused by the discrepancy between what they saw and what they heard!  Fortunately, I asked the producer to send the OTHER version of my score and parts to the players - and bam - an amazingly good performance ensued.

On 4/22/2024 at 7:30 PM, Lars said:

As a composer who has worked very closely with a harpist on (admittedly tonal) music, I am very much in agreement with Gardener's approach.  I've thought of this approach, before, myself.  Yes, it will leave some holes in the 24-TET multi-octave scale, but good planning by the composer will help greatly.

I'm only now dipping my toes into the problems of quarter-tone orchestral writing that (hopefully) won't be a disaster.  Bowed strings with their unfocused mass (relative to woodwinds, etc.) and vibrato supposedly make for more convincing performances of quarter-tone harmonies.  However, I fear that even professional-level players will be aurally disoriented by the intervals.  One possible solution is to use a harp (treated in Gardener's way) to provide a subtle undercurrent of solidly plucked pitches to help orient the ears of the bowed string players.  Just a thought...

That said, I can speak from experience on the matter of the challenge of "mixed scordatura", which is to say scordatura that varies among the individual strings of a multi-stringed instrument:  I composed a short duo for violin and viola - both with mixed scordatura so as to facilitate a Pagannini-ish (albeit much slower) simultaneous left-hand pizz with right-hand bowing of just the right pitches, as well as to facilitate certain quick double-stops to effect four-part polyphony (canons) between the two players.  To be safe, I provided TWO versions of the score and parts:  One version expressed the notes corresponding to standard fingering.  The other version expressed the actual sounded pitches.  Initially, the producer forwarded only the version that expressed the fingering (not the sound) - and soon I got the panicked e-mail because the players have perfect pitch and were thoroughly confused by the discrepancy between what they saw and what they heard!  Fortunately, I asked the producer to send the OTHER version of my score and parts to the players - and bam - an amazingly good performance ensued.

 

Compositions like yours not only push the boundaries of traditional techniques but also offer performers and audiences unique and engaging musical experiences. I'm sure your duo for violin and viola provides a rewarding and enriching performance opportunity for both players and listeners alike.