Blog 19
MICHAEL'S MICROTONAL METHOD
Here is the transcript of the Introductory video in a series exploring the microtonal possibilities of the (French) horn.
Music starts Our Days (13-limit just intonation)
‘The horn is an excellent instrument for exploring non-standard tuning systems. A significant compositional resource is provided by the available harmonics of the standard double horn.’
‘Savvy viewers will notice this instrument is actually a triple horn (F, B-flat, E-flat made by Engelbert Schmid). I’ll be using this throughout the series simply because it is the best horn I have! I promise to only use the F and B-flat sides.’
‘A player can produce 13 or more harmonics on the shorter tube lengths and up to 24 on the longest tube lengths.’
Demo
B-flat horn harmonics 1 - 13
A horn harmonics 1 - 14
A-flat horn harmonics 1 - 15
G horn harmonics 1 - 16
G-flat horn harmonics 1 - 17
F horn harmonics 1 - 18
E horn harmonics 1 - 19
E-flat horn harmonics 1 - 20
D horn harmonics 1 - 21
D-flat horn harmonics 1 - 22
C horn harmonics 1 - 23
B horn harmonics 1 - 24
‘The higher harmonics are not easy to produce reliably and the tone quality on longest tube lengths is less clear. In all the double horn has 16 tube lengths. Why 16?’
Demo
B-flat horn valves 1 & 2 then 3
F horn open then B-flat horn valves 1 & 3
E horn then B-flat horn valves 1, 2, 3
F horn valves 1 & 2 then valve 3
‘The 12 chromatic tones plus 4 alternatives. It may not be practical to use all 16 in one composition, yet some possibilities exist such as my piece Seven Small Wheels Revolving for horn and bassoon. There is a Spotify link in the text below the video.’
‘Traditional techniques of lip and right hand adjustments along with valve slide adjustments add tremendously to the possibilities. The performance of compositions in extended just intonation, and other non-standard tuning systems, is discovered to be within the realm of expertise of players using the standard double horn.’
‘I will tie in practical knowledge with a deep understanding of harmonics by classifying harmonic use according to just intonation prime-limits. This links in with the long and rich tradition of just intonation and other microtonal exploration.’
‘Episode One will show the octaves, harmonics 1-2, 2-4, 4-8, 8-16 as the space that we build our framework within. The relation between harmonics 2 & 3 is the real foundation of standard tuning for horn players (and Western music).’
‘Episode Two, in showing the relation between harmonics 4 & 5, brings forth our most accessible microtone.’
‘And thus the presentations will follow on up the harmonic series . . .
https://youtu.be/aetwO11N1Ns