How to learn a microtonal piece
(a/k/a SLN’s biannual microtonal post.) So I’m practicing James Bergin’s new piece today for next Sunday’s concert with the Boston Microtonal Society, and I’m suddenly inspired to draft a post about learning and practicing any new microtonal piece. Then I think to myself, Wait a second, don’t I get inspired to write a post about microtonal things every time we’ve got a concert coming up (which happens to be twice a year)? Yes. Yes, I do. However, for past BMS concerts, I’ve always been familiar with the works I’m preparing. Not so this time. James’s piece is brand new, and as a result the steps I go through to learn a new microtonal composition were very apparent. Really. It was like reading the instructions on how to assemble a bunk bed from IKEA. So I thought it would be a great service if I imparted this wisdom and (ssssshhh!) shared the secret.
So here it is. Brian Sacawa’s guide to learning a(ny) new microtonal composition:
- Pick your microtonal fingerings.*
- Write your microtonal fingerings above the notes.^
- Practice.†
Just follow these steps and you too can learn a microtonal piece!
Footnotes
* An important first step, and one that must be effected with each new microtonal composition you learn. True, one may have in one’s fingering repertoire many “stock” microtonal fingerings—that one that you use to lower that high C# (1, 2, plus palm key D and side Bb) when you’ve got that note as the third of a major triad because everyone knows that the third of a major triad must be played 14 cents low, a virtual microtone—but in some situations, say like when you’ve got to have three microtones between each semitone, let’s say 16, 33, and 50 cents high/low, there’s a little tinkering that needs to take place.
^ Also an important step that, if effected with each new microtonal composition you learn, is proven to alleviate extreme anger and sudden obscenity laden outbursts.
† Repeat step 3.