You are not the only one.
 
-William
 
 
In a message dated 12/27/2010 7:32:20 P.M. Eastern Standard Time,  
[email protected] writes:

The  community orchestra I enjoy membership in, has the woodwind section
filled  with high school and middle school band/orchestra directors.   It
amazes me the way they carry on during rehearsals.  Their chatter  away in a
most happy manner, quite similar no doubt in a manner, which if  their own
students did the same, they would find most objectionable.   

-----Original Message-----
From: [email protected]  [mailto:[email protected]] On Behalf
Of Richard V. West
Sent:  Monday, December 27, 2010 2:09 PM
To: The Horn List
Subject: Re:  [Hornlist] quarter tones

Playing often in my life with community  orchestras of varying levels of
proficiency, I've had 
considerable  experience playing quarter tones in order to be in tune with 
at
least a  portion of 
the group. Amazing, isn't it, these earnest people were playing  quarter
tones without any 
training at all! Some had even achieved  microtone status without even
realizing it.

Richard in  Seattle

On 12/27/2010 11:49 AM, Steven Mumford wrote:
>   Hey, let's not get stuck in the 20th century!  Aren't you  feeling a
little limited by only having 12 notes to use?  One brass  quintet I used to
play in, the leader would respond to requests for Justin  Bieber, or Chicken
Train by saying "we don't have that one, but we'll play  this one instead.
It has a lot of the same notes in it". 
>   I remember reading quite awhile ago about an Egyptian trumpet  player
who had an extra quarter tone valve added to his trumpet because  the
traditional music he grew up with used quarter tones and he wanted to  be
able to play that style of music on the trumpet.  Just a word to  the wise
for those considering gigging in Egypt.
>     I'm glad Daniel has done this book!  It's one of those things  I've
had in the back of my mind for quite awhile but never got around  to
seriously figuring out.  I had figured that for the most part the  quarter
tones could be obtained just with fingerings.  I'll be  interested to see 
how
he's done it.
>      Great  Googly Moogly!
>
> - Steve Mumford
>
>  XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
>
> Hans  wrote:
>
> Hello Dan, all very interesting, but for what use, as  most horn players,
> amateurs as well as professionals, have enough  problems commanding
> the F-&  the Bb-side fingerings already.  And more than that, even many
> professional players have problems  transposing a simple musical text
> if there are some accidentals. How  should they master the problem of
> quarter tones ? How will be the  relation between effort to master the
> quarter tone issue and resulting  income ?
>
> There is one good thing with  quarter-tone-textes:
>
> there is no transposing  involved.
>
>  ##########################################################
> Am  27.12.2010 um 15:18 schrieb Daniel Grabois:
>
>   I'm  very excited to announce that I have just published my second  
etude
>   book. It is called Quarter Tone Manual for French  Horn. It has 17
> etudes ranging from fairly easy to extremely hard,  plus lots of
> explanations on how to play quarter tones. There's also a  section of
> suggestions for composers on how to write quarter tones in  a way that
> makes them playable by horn players.
>> So,  apologies for the commercial plug, but you can order the book at  my
website, www.danielgrabois.com.
>>
>> Thanks, and  Happy New Year to all horn players and their families!
>> Dan  Grabois
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