Dear Dan, even your etude book might be a valuable addition for contemporanean music, you did not react to my objections at all. One has to think about the majority of players, not for some niche artist who can devote time & energy learning this difficult task of quarter tones.
Sounding VERY COOL is not an argument. The audience must like the music, not just very small selected group. The devotees to classical music are very small in numbers anyway. Out of them again just a very small numbers are in fond of contemporanean music (???). Composers write much garbage using any kind of writing technique & expect that we learn all this stuff just FOR ONE SINGLE PERFORMANCE. Ridiculous. Good composers use the standard writings & use all possible tricks & colors for their pieces, without requiring tonal techniques beyond that. Richard Strauss used all halftones equally & neared to twelve-tone-music, but he knew how to use that, because he had a sound imagination & sound taste, in contrary to most contemp composers who mostly construct, instead of composing. That is the problem. Many of their creations disappear after very short time. So one has to consider the investment of time & energy for learning their tonal language, their system of writing music (special notations - most disappeared after the often single performance), their special effects, etc. - Struggling for a decent income, regular musicians are not willing to do so, mostly. But teachers at universities might do it. They have a decent income anyway and are not so time pressed. They have the time to learn these techniques & do not lose anything. So your etude book might be very valuable for them, but not for everybody. _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
