Quarter Tone - Playing Quarter Tones On Musical Instruments

Playing Quarter Tones On Musical Instruments

Because many musical instruments manufactured today are designed for the 12-tone scale, not all are usable for playing quarter tones. Sometimes special playing techniques must be used.

Conventional musical instruments that cannot play quarter tones (except by using special techniques—see below) include

  • Normally fretted string instruments
  • Pianos, normally tuned
  • Organs, when conventionally tuned
  • Synthesizers (when design does not permit)
  • Accordions
  • Pitched percussion instruments, when tuning does not permit and normal techniques are used

Conventional musical instruments that can play quarter tones include

  • Synthesizers (if design permits)
  • Fretless string instruments (on fretted string instruments it is possible with bending or special tuning)
  • Quarter-tone fretted string instruments
  • Slide brass instruments (trombone)
  • Valved brass instruments (trumpet, horn, tuba)
  • Woodwind instruments, using special fingering or bending.
    • Flute
    • Recorder
    • Clarinet
    • Oboe
    • Saxophone
    • Bassoon
  • Harmonica
  • Harp
  • Pianos, if specially tuned
  • Organs, when tuned for the purpose
  • Pitched percussion instruments, when tuning permits, or using special techniques

Experimental instruments have been built to play in quarter tones, for example a quarter tone clarinet by Fritz Schüller (1883–1977) of Markneukirchen.

Other instruments can be used to play quarter tones when using audio signal processing effects such as pitch shifting.

Pairs of conventional instruments tuned a quarter tone apart can be used to play some quarter tone music. Indeed, quarter-tone pianos have been built, which consist essentially of two pianos stacked one above the other in a single case, one tuned a quarter tone higher than the other.

Read more about this topic:  Quarter Tone

Famous quotes containing the words playing, quarter, tones, musical and/or instruments:

    All those who dwell in the depths find their happiness in being like flying fish for once and playing on the uppermost crests of the waves. What they value most in things is that they have a surface, their “epidermality”Msit venia verbo.
    Friedrich Nietzsche (1844–1900)

    I was able to believe for years that going to Madame Swann’s was a vague chimera that I would never attain; after having passed a quarter of an hour there, it was the time at which I did not know her which became to me a chimera and vague, as a possible destroyed by another possible.
    Marcel Proust (1871–1922)

    ‘Tis not that thy mien is stately,
    ‘Tis not that thy tones are soft;
    Charles Stuart Calverley (1831–1884)

    A pregnant woman and her spouse dream of three babies—the perfect four-month-old who rewards them with smiles and musical cooing, the impaired baby, who changes each day, and the mysterious real baby whose presence is beginning to be evident in the motions of the fetus.
    T. Berry Brazelton (20th century)

    The form of act or thought mattered nothing. The hymns of David, the plays of Shakespeare, the metaphysics of Descartes, the crimes of Borgia, the virtues of Antonine, the atheism of yesterday and the materialism of to-day, were all emanation of divine thought, doing their appointed work. It was the duty of the church to deal with them all, not as though they existed through a power hostile to the deity, but as instruments of the deity to work out his unrevealed ends.
    Henry Brooks Adams (1838–1918)