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Noun1.quarter-tone - half of a semitone
musical interval, interval - the difference in pitch between two notes
References in periodicals archive ?
Metro Vox" exploited quarter-tones, slides, screams and timed hissing among several lengthy sustained chords.
Over the course of these twelve etudes, players will encounter rhythmic challenges, less familiar scales and modes, quarter-tones, stopped technique, multiphonics, and a variety of interval combinations that make them seem really difficult at first.
The idea of combining a not-easily-detunable piano with sliding string quarter-tones in the central movement might appear unwieldy, but in fact the collision of these two soundworlds worked tellingly.
Indeed, according to North's widow, Anne-Marie, he worked for a year on the score and was "extremely proud" of it, employing an array of musical techniques ranging from a massive use of percussion to announce Cleopatra's entry into Rome to avant-garde quarter-tones to create an unsettling sound for Caesar's assassination.
Indeed, the work reads as if the composer had finished the piece, then gone back and altered standard pitches to be quarter-tones, as if thinking that their use would somehow make Xuan Vu more complete, or perhaps simply more complex.
Once the quarter-tones are emancipated, an entirely new world of tones will open to us.
In the piece I used various forms of singing, an intimate even voice, and fast rap declamations, and I also used a sixteenth-tone piano, a harp tuned to quarter-tones, a sample with snatches of voice and the singers' breath, a lot of percussion instruments, like the chromatic octave of Java gongs, two octaves of cow bells, 3 octaves of boo-bams, a vibraphone tuned a quarter tone higher .
We also hear shades of Wagner and Elgar and the expressive despair which the tight closeness of intervallic quarter-tones can suggest - the CBSO strings execute these with expert intonation.
Extended techniques like quarter-tones have literally, as well as figuratively, transformed the flute into a "different" instrument.
Wehrmeyer glosses two early articleS: the first calling for a utilization of quarter-tones as a new "ultra-chromatic" expansion of inherited twelve-note chromaticism, and the second calling for an emancipation of rhythm from the restrictions of meter and simple proportions.