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:

    A daughter of Eve ... had better be fifty leagues off—or in her warm bed—or playing with a case-knife—or any thing you please—than make a man the object of her attention, when the house and all the furniture is her own.
    Laurence Sterne (1713–1768)

    I also heard the whooping of the ice in the pond, my great bed-fellow in that part of Concord, as if it were restless in its bed and would fain turn over, were troubled with flatulency and bad dreams; or I was waked by the cracking of the ground by the frost, as if some one had driven a team against my door, and in the morning would find a crack in the earth a quarter of a mile long and a third of an inch wide.
    Henry David Thoreau (1817–1862)

    This was Venice, the flattering and suspect beauty—this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.
    Thomas Mann (1875–1955)

    Through man, and woman, and sea, and star,
    Saw the dance of nature forward far;
    Through worlds, and races, and terms, and times,
    Saw musical order, and pairing rhymes.
    Ralph Waldo Emerson (1803–1882)

    Whilst Marx turned the Hegelian dialectic outwards, making it an instrument with which he could interpret the facts of history and so arrive at an objective science which insists on the translation of theory into action, Kierkegaard, on the other hand, turned the same instruments inwards, for the examination of his own soul or psychology, arriving at a subjective philosophy which involved him in the deepest pessimism and despair of action.
    Sir Herbert Read (1893–1968)