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How Essential Is Use Of Quarteltone Interval Between 2 Last Notes Of Final Cadence May Be?


yvilen
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I experiment with embodiment of fragments of different music works by proposed by me new structure of musical note (http://www.youngcomposers.com/forum/t33636/the-new-structure-of-muscal-note/). I can by it to apply pitches from 24 TET Scale freely. Because of that I took the interest to Arabic music works. In particular I experimented with work of Ahmed Abdul Malik "Farah Alaiyna". I observed that the composer introduced  micro tonal  notes  from 24 TET scale mostly in final cadences in oder to obtain to receive  quatertone  interval between  2 last notes of melody. It is interesting how useful may be analogous apply of microtonal notes in occidental music. I presented below 2 variants of the work's mp3 files which correspond its first 8 measures which include final cadence in 8 bar. First variant has in final cadence quartertone melody interval and second- common haftone one. I myself doesn't feel essential difference.

 

For some reason the second mp3 file isn't upoaded .I try that later.

 

If nothing came again from the try to upload  mp3 file there is link:
http://home.arcor.de/yuri.vilenkin/fara-10sept-5-micro.mp3


Greetings
Yuri Vilenkin

 

 

fara-10sept-5.mp3

Edited by yvilen
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This kind of reminds me of how some performers, like Pablo Casals, sharpen leading tones in what they call expressive intonation. I think the distance between the 7th scale degree and the tonic becomes something similar to a microtone. I'm not such a fan of this practice because it just sounds out of tune to me. However, some believe it helps emphasize the relationship between those two notes. This kind of variable intonation is now kind of old fashioned, and you won't come across it in many performances today. Here's an interesting article about it: http://www.thestrad.com/cpt-latests/cellist-pablo-casals-on-expressive-intonation/

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