Use in music of microtones (intervals smaller than a semitone)
For sounds on the time scale shorter than musical notes, seemicrosound.
"Microtone" redirects here. For the slicing tool, seeMicrotome.
Composer Charles Ives chose the chord above as a good candidate for a "fundamental" chord in the quarter tone scale, akin not to the tonic but to the major chord of traditional tonality[1] Two examples of an Ives fundamental chord with quarter tones
Microtonality is the use in music of microtones —intervals smaller than asemitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Westerntuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls "between the keys" of a piano tuned inequal temperament.
Quarter toneaccidentals residing outside the Westernsemitone: quarter tone flat,flat, (two variants of) three quarter tones flat; quarter tone sharp,sharp, three quarter tones sharp
Microtonal music can refer to any music containing microtones. The words "microtone" and "microtonal" were coined before 1912 byMaud MacCarthy Mann in order to avoid the misnomer "quarter tone" when speaking of thesrutis of Indian music.[2] Prior to this time the term "quarter tone" was used, confusingly, not only for an interval actually half the size of a semitone, but also for all intervals (considerably) smaller than a semitone.[3][4] It may have been even slightly earlier, perhaps as early as 1895, that the Mexican composerJulián Carrillo, writing in Spanish or French, coined the termsmicrotono/micro-ton andmicrotonalismo/micro-tonalité.[5]
In French, the usual term is the somewhat more self-explanatorymicro-intervalle, and French sources give the equivalent German and English terms asMikrointervall (orKleinintervall) andmicro interval (ormicrotone), respectively.[6][7][8][9] "Microinterval" is a frequent alternative in English, especially in translations of writings by French authors and in discussion of music by French composers.[10][11][12] In English, the two terms "microtone" and "microinterval" are synonymous.[13] The English analogue of the related French term,micro-intervalité, however, is rare or nonexistent, normally being translated as "microtonality"; in French, the termsmicro-ton,microtonal (ormicro-tonal), andmicrotonalité are also sometimes used, occasionally mixed in the same passage withmicro-intervale andmicro-intervalité.[5][14][15][16]
Ezra Sims, in the article "Microtone" in the second edition of theHarvard Dictionary of Music defines "microtone" as "an interval smaller than a semitone",[17] which corresponds withAristoxenus's use of the termdiesis.[18] However, the unsigned article "Comma, Schisma" in the same reference source callscomma,schisma, anddiaschisma "microintervals" but not "microtones",[19] and in the fourth edition of the same reference (which retains Sims's article on "Microtone") a new "Comma, Schisma" article by André Barbera calls them simply "intervals".[20] In the second edition ofThe New Grove Dictionary of Music and Musicians,Paul Griffiths,Mark Lindley, and Ioannis Zannos define "microtone" as a musical rather than an acoustical entity: "any musical interval or difference of pitch distinctly smaller than a semitone", including "the tinyenharmonic melodic intervals ofancient Greece, the several divisions of theoctave into more than 12 parts, and various discrepancies among the intervals ofjust intonation or between a sharp and its enharmonically paired flat in various forms ofmean-tone temperament", as well as the Indiansruti, and small intervals used inByzantine chant,Arabic music theory from the 10th century onward, and similarly forPersian traditional music andTurkish music and various other Near Eastern musical traditions,[21] but do not actually name the "mathematical" terms schisma, comma, and diaschisma.
"Microtone" is also sometimes used to refer to individual notes, "microtonal pitches" added to and distinct from the familiar twelve notes of the chromatic scale,[22] as "enharmonic microtones",[23] for example.
In English the word "microtonality" is mentioned in 1946 byRudi Blesh who related it to microtonal inflexions of the so-called "blues scales".[24] In Court B. Cutting's 2019Microtonal Analysis of “Blues Notes” and the Blues Scale, he states that academic studies of the early blues concur that its pitch scale has within it three microtonal “blue notes” not found in 12 tone equal temperament intonation.[25] It was used still earlier byW. McNaught with reference to developments in "modernism" in a 1939 record review of theColumbia History of Music, Vol. 5.[26] In German the termMikrotonalität came into use at least by 1958,[27][28] though "Mikrointervall" is still common today in contexts where very small intervals of early European tradition (diesis, comma, etc.) are described, as e.g. in the newGeschichte der Musiktheorie[29] while "Mikroton" seems to prevail in discussions of theavant-garde music and music of Eastern traditions.[citation needed] The term "microinterval" is used alongside "microtone" by American musicologist Margo Schulter in her articles onmedieval music.[30][31]
The term "microtonal music" usually refers to music containing very small intervals but can include any tuning that differs from Western twelve-toneequal temperament. Traditional Indian systems of 22śruti; Indonesiangamelan music; Thai, Burmese, and African music, and music usingjust intonation,meantone temperament or other alternative tunings may be considered microtonal.[32][21] Microtonal variation of intervals is standard practice in the African-American musical forms ofspirituals,blues, andjazz.[33]
Many microtonal equal divisions of the octave have been proposed, usually (but not always) in order to achieve approximation to the intervals ofjust intonation.[32][21]
Terminology other than "microtonal" has been used or proposed by some theorists and composers. In 1914,A. H. Fox Strangways objected that "'heterotone' would be a better name for śruti than the usual translation 'microtone'".[34] Modern Indian researchers yet write: "microtonal intervals called shrutis".[35] In Germany, Austria, and Czechoslovakia in the 1910s and 1920s the usual term continued to beViertelton-Musik (quarter tone music[36][page needed]), and the type of intervallic structure found in such music was called theVierteltonsystem,[37][38] which was (in the mentioned region) regarded as the main term for referring to music with microintervals, though as early as 1908 Georg Capellan had qualified his use of "quarter tone" with the alternative term "Bruchtonstufen (Viertel- und Dritteltöne)" (fractional degrees (quarter and third tones)).[39] Despite the inclusion of other fractions of a whole tone, this music continued to be described under the heading "Vierteltonmusik" until at least the 1990s, for example in the twelfth edition of theRiemann Musiklexikon,[40] and in the second edition of the popularBrockhaus Riemann Musiklexikon.[41]
Ivan Wyschnegradsky used the termultra-chromatic for intervals smaller than the semitone andinfra-chromatic for intervals larger than the semitone;[42] this same term has been used since 1934 by ethnomusicologist Victor Belaiev (Belyaev) in his studies of Azerbaijan and Turkish traditional music.[43][44][45] A similar term,subchromatic, has been used by theorist Marek Žabka.[46]Ivor Darreg proposed the termxenharmonic in March 1966;[47] seexenharmonic music. TheAustrian composerFranz Richter Herf [de] and the music theorist Rolf Maedel, Herf's colleague at theSalzburg Mozarteum, preferred using the Greek wordekmelic when referring to "all the pitches lying outside the traditional twelve-tone system".[48] Some authors in Russia[49][50][51][52][53][54] and some musicology dissertations[55][56][57][58][59][60] disseminate the termмикрохроматика (microchromatics), coined in the 1970s byYuri Kholopov,[61] to describe a kind of 'intervallic genus' (интервальный род) for all possible microtonal structures, both ancient (as enharmonic genus—γένος ἐναρμόνιον—of Greeks) and modern (as quarter tone scales ofAlois Haba); this generalization term allowed also to avoid derivatives such asмикротональность (microtonality, which could be understood in Russian as a sub-tonality, which is subordinate to the dominating tonality, especially in the context of European music of the 19th century) andмикротоника (microtonic, "a barely perceptibletonic"; see a clarification in Kholopov [2000][62]). Other Russian authors use the more international adjective 'microtonal' and have rendered it in Russian as 'микротоновый', but not 'microtonality' ('микротональность').[63][64][65][66] However, the terms 'микротональность'[67] and 'микротоника'[68] are also used. Some authors writing in French have adopted the term "micro-intervallique" to describe such music.[69][70] Italian musicologist Luca Conti dedicated two of his monographs tomicrotonalismo,[71][72] which is the usual term in Italian, and also in Spanish (e.g., as found in the title of Rué [2000][73]). The analogous English form, "microtonalism", is also found occasionally instead of "microtonality", e.g., "At the time when serialism and neoclassicism were still incipient a third movement emerged: microtonalism".[74]
The term "macrotonal" has been used for intervals wider than twelve-tone equal temperament,[75][better source needed] or where there are "fewer than twelve notes per octave", though "this term is not very satisfactory and is used only because there seems to be no other".[76] The term "macrotonal" has also been used for musical form.[77]
Examples of this can be found in various places, ranging fromClaude Debussy's impressionistic harmonies toAaron Copland's chords of stacked fifths, toJohn Luther Adams'Clouds of Forgetting,Clouds of Unknowing (1995), which gradually expands stacked-interval chords ranging from minor 2nds to major 7thsm.Louis Andriessen'sDe Staat (1972–1976) contains a number of "augmented" modes that are based on Greek scales but are asymmetrical to the octave.[78]
Greek Dorian mode (enharmonic genus) on E, divided into two tetrachords.
The Hellenic civilizations of ancient Greece left fragmentary records of their music, such as theDelphic Hymns. The ancient Greeks approached the creation of different musical intervals and modes by dividing and combiningtetrachords, recognizing threegenera of tetrachords: the enharmonic, the chromatic, and the diatonic. Ancient Greek intervals were of many different sizes, including microtones. The enharmonic genus in particular featured intervals of a distinctly "microtonal" nature, which were sometimes smaller than 50 cents, less than half of the contemporaryWesternsemitone of 100 cents. In the ancient Greekenharmonic genus, the tetrachord contained a semitone of varying sizes (approximately 100 cents) divided into two equal intervals calleddieses (single "diesis",δίεσις); in conjunction with a larger interval of roughly 400 cents, these intervals comprised the perfect fourth (approximately 498 cents, or the frequency ratio of 4 / 3 injust intonation).[79] Theoretics usually described several diatonic and chromatic genera (some as chroai, "coloration" of one specific intervallic type), but the enarmonic genus was always the only one (argumented as one with the smallest intervals possible).
Vicentino's archicembalo in cents
Guillaume Costeley's "Chromatic Chanson", "Seigneur Dieu ta pitié" of 1558 used 1 / 3 commameantone (which almost exactly equals19 equal temperament) and explored the full compass of 19 pitches in the octave.[80]
The ItalianRenaissance composer and theoristNicola Vicentino (1511–1576) worked with microtonal intervals and built a keyboard with 36 keys to the octave known as thearchicembalo. While theoretically an interpretation of ancient Greek tetrachordal theory, in effect Vicentino presented a circulating system of quarter-commameantone, maintaining major thirds tuned injust intonation in all keys.[81]
In 1760 the French flautistCharles de Lusse [de] published a treatise,L'Art de la flute traversiere, all surviving copies of which conclude with a composition (possibly added a year or two after the actual publication of the volume) incorporating several quarter tones, titledAir à la grecque, accompanied by explanatory notes tying it to the realization of the Greek enharmonic genus and a chart of quarter tone fingerings for the entire range of the one-keyed flute. Shortly afterward, in a letter published in theMercure de France in September 1764, the celebrated flautistPierre-Gabriel Buffardin mentioned this piece and expressed an interest in quarter tones for the flute.[82][83]
Jacques Fromental Halévy composed a cantata "Prométhée enchaîné" for a solo voice, choir and orchestra (premiered in 1849), where in one movement (Choeur des Océanides) he used quarter tones, to imitate the enharmonic genus of Greeks.
Alexander John Ellis, who in the 1880s produced a translation ofHermann Helmholtz'sOn the Sensations of Tone, proposed an elaborate set of exotic just intonation tunings and non-harmonic tunings.[84] Ellis also studied the tunings ofnon-Western cultures and, in a report to theRoyal Society, stated that they used neither equal divisions of the octave nor just intonation intervals.[85] Ellis inspiredHarry Partch immensely.[86]
During theExposition Universelle of 1889,Claude Debussy heard a Balinesegamelan performance and was exposed tonon-Western tunings and rhythms. Some scholars have ascribed Debussy's subsequent innovative use of the whole-tone (six equal pitches per octave) tuning in such compositions as theFantaisie for piano and orchestra and the Toccata from the suitePour le piano to his exposure to the Balinese gamelan at the Paris exposition,[87] and have asserted his rebellion at this time "against the rule ofequal temperament" and that the gamelan gave him "the confidence to embark (after the 1900 world exhibition) on his fully characteristic mature piano works, with their many bell- and gong-like sonorities and brilliant exploitation of the piano's natural resonance".[88] Still others have argued that Debussy's works likeL'isle joyeuse,La cathédrale engloutie,Prélude à l'après-midi d'un faune,La mer,Pagodes,Danseuses de Delphes, andCloches à travers les feuilles are marked by a more basic interest in the microtonal intervals found between the higher members of the overtone series, under the influence of Helmholtz's writings.[89]Emil Berliner's introduction of the phonograph in the 1890s allowed much non-Western music to be recorded and heard by Western composers, further spurring the use of non-12EDO tunings.[citation needed]
Major microtonal composers of the 1920s and 1930s includeAlois Hába (quarter tones, or 24 equal pitches per octave, and sixth tones), Julián Carrillo (24EDO, 36, 48, 60, 72, and 96 equal pitches to the octave embodied in a series of specially custom-built pianos),Ivan Wyschnegradsky (third tones, quarter tones, sixth tones and twelfth tones, non octaving scales) and the early works ofHarry Partch (just intonation using frequencies at ratios of prime integers 3, 5, 7, and 11, their powers, and products of those numbers, from a central frequency of G-196).[90]
Prominent microtonal composers or researchers of the 1940s and 1950s includeAdriaan Daniel Fokker (31EDO), Partch (continuing to build his handcrafted orchestra of microtonal just intonation instruments), andEivind Groven.
Digital synthesizers from theYamaha TX81Z (1987) on and inexpensive software synthesizers have contributed to the ease and popularity of exploring microtonal music.
Electronic music facilitates the use of any kind of microtonal tuning, and sidesteps the need to develop new notational systems.[21] In 1954,Karlheinz Stockhausen built his electronicStudie II on an 81-step scale starting from 100 Hz with the interval of 51/25 between steps,[91] and inGesang der Jünglinge (1955–56) he used various scales, ranging from seven up to sixty equal divisions of the octave.[92] In 1955,Ernst Krenek used 13 equal-tempered intervals per octave in his Whitsun oratorio,Spiritus intelligentiae, sanctus.[21]
In 1979–80 Easley Blackwood composed a set ofTwelve Microtonal Etudes for Electronic Music Media, a cycle that explores all of the equal temperaments from 13 notes to the octave through 24 notes to the octave, including15-ET and19-ET.[93][full citation needed][page needed] "The project," he wrote, "was to explore the tonal and modal behavior of all [of these] equal tunings..., devise a notation for each tuning, and write a composition in each tuning to illustrate good chord progressions and the practical application of the notation".[94][full citation needed]
In 1986,Wendy Carlos experimented with many microtonal systems includingjust intonation, using alternate tuning scales she invented for the albumBeauty In the Beast. "This whole formal discovery came a few weeks after I had completed the album,Beauty in the Beast, which is wholly in new tunings and timbres".[95]
In 2016, electronic music composed with arbitrary microtonal scales was explored on the albumRadionics Radio: An Album of Musical Radionic Thought Frequencies by British composerDaniel Wilson, who derived his compositions' tunings from frequency-runs submitted by users of a custom-builtweb application replicatingradionics-based electronic soundmaking equipment used by Oxford'sDe La Warr Laboratories in the late 1940s, thereby supposedly embodying thoughts and concepts within the tunings.[96]
Finnish artistAleksi Perälä works exclusively in a microtonal system known as the Colundi sequence.[97][98]
TheMIDI 1.0 specification does not directly support microtonal music, because each note-on and note-off message only represents one chromatic tone. However, microtonal scales can be emulated usingpitch bending, such as inLilyPond's implementation.[99]
Although some synthesizers allow the creation of customized microtonal scales, this solution does not allow compositions to be transposed. For example, if each B note is raised one quarter tone, then the "raised 7th" would only affect a C major scale.
Early microtonal guitars focused on issues with the 12-tone equal temperament system. In 1829, Thomas Perronet Thompson designed the Enharmonic Guitar that featured small holes where frets could be inserted. Later developments from Luthier René Lacôte and Paul Kochendorfer include an adjustable ebony-mounted frets and levers to simultaneously adjust multiple frets.[100] A form of microtone known as theblue note is an integral part ofrock music and one of its predecessors, the blues. The blue notes, located on the third, fifth, and seventh notes of a diatonic major scale, are flattened by a variable microtone.[101] Joe Monzo has made a microtonal analysis of the song "Drunken Hearted Man",[102] written and recorded by the delta blues musicianRobert Johnson.[103]
English rock bandRadiohead has used microtonal string arrangements in their music, such as on "How to Disappear Completely" from the albumKid A.[103]
American bandSecret Chiefs 3 has been making its own custom "microtonal" instruments since the mid 1990s. The proprietary tuning system they use in theirIshraqiyun aspect is ratio-based, not equal temperament. The band's leaderTrey Spruance, also ofMr. Bungle, challenges the terminology of "microtonality" as a development that instead of liberating tonal sensibility to a universe of diverse possibilities, both new and historical, instead mainly serves to reinforce the idea that the universal standard for "tone" is the (western) semitone.[105]
American bandThe Mercury Tree began incorporating microtonality in their 2014 albumCountenance, using quarter tones on the song "Vestigial". In their 2016 albumPermutations, they continued exploring quarter tones, and the track "Ether / Ore" was composed using theCarlos Alpha tuning.[109] Their 2018 collaborative EP withCryptic Ruse, titledCryptic Tree, utilized both23-TET and17-TET. The 2019 albumSpidermilk and the 2023 albumSelf Similar both feature 17 notes per octave, with the latter also including tracks in34-TET and68-TET.[110]
Ventifacts, a prog-rock and folk songwriting duo between Ben Spees (of The Mercury Tree) and Damon Waitkus (ofJack O' the Clock) have made music which is exclusively microtonal. The tuning systems they use arefree pitch, 24-TET, 17-TET,22-TET,10-TET and20-TET.[111]
American bandDollshot used quarter tones and other microtonal intervals in their albumLalande.[112]
Iannis Xenakis (Greece, France, 1922–2001, quarter and third tones most particularly, occasionally eighth tones)
György Ligeti (Hungary, 1923–2006,Ramifications in quarter tone tuning, natural harmonics in his Horn Trio, later just intonation in his solo concertos)
Luigi Nono (Italy, 1924–1990, quarter tones, eighth tones and 16th tones)
Karlheinz Stockhausen (Germany, 1928–2007, used and explored in his electronic works many microtonal concepts, non-octaving scales inStudie II, just intonation inGruppen andStimmung, occasional microtonal instrumental and vocal writing throughoutLicht)
Ben Johnston (U.S.A., 1926–2019, extended just intonation)
Wendy Carlos (U.S.A., b. 1939, non-octaving scales)
Bruce Mather (Canada, b. 1939, different equal temperaments, following Wyschnegradsky)
Brian Ferneyhough (Great Britain, b. 1943, quarter tones, 31ET inUnity Capsule for solo flute, 1976; quarter tones and eighth tones inLa Chute d'Icare, 1988)
Jukka Tiensuu (Finland, b. 1948, quarter tones, non equal temperament tunings)
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