The Microtonal String Orchestra

Abstract

MAGINE COMPOSING FOR A CONVENTIONALLY TRAINED string orchestra 1 and having access to 46 accurately tuned microtones. The purpose of this article is to highlight a practical methodology that other composers may adapt and apply which allows access to microtones through an ensemble of conventional instruments and instrumentalists. The article also discusses what outcomes the composer may expect from such a stylistic approach. The concepts discussed here are not pure theory, they have been practically applied in the composition The tale of Ki ề u , which was performed by the Basel Chamber Orchestra conducted by Franck Ollu with three rehearsals, totaling no more than three hours. The tale of Ki ề u was performed as part of the 2019 Basel Composition Competition and can be heard by following the links in the endnotes. 2,3 There are two premises which, when observed, allow the orchestra to access a new set of pitches. The fi rst premise is that the orchestra follows a scordatura which increases the number of pitches accessible on open strings from fi ve pitches to fi fteen. The second premise relies on the players of the orchestra being able to access the fi rst eight harmonics of each open string. In The Contemporary Violin , Patricia and Allen Strange suggest that harmonics up to the triple octave are easily accessible for most players. 4