112. 20r1-Cenruny MicroroxaL Novarion aa 8 Other works known to utilize third-tones or the 31-tone tempered scale were not available for perusal. They include: Frantiek {Tf Wiesmeyer. invention No, 2 for Violin (1936); Melchior E, Sachs Kleine Sticke: Henri Pousseur: Racine 19 (1975), and Jean-Etienne Marie: Le tombeau de Carrillo (1966). The relatively small number of ‘compositions cited in this chapter, at least in comparison with the extremely extensive listings of quartertone scores, proves tha the Uwipartitedivision ofthe octave has not exerted acomparable appealfor the twentieth-century composer, notwithstanding the optimistic pro- pphesies of such theorists as Busoni and Yasser. Nor will the composers ‘drawntofifth-tones, nextconsidered, equal in number those preferring ‘quarter-steps in their works. Whether this imbalance will eventually ‘change, one way or another, is not evident to us atthe present time, FOUR The Notation of Fifth-Tones and the 31-Tone Scale F ifth-tones and the 31-note microtonal scale have had great appeal for a surprisingly large group of mid- to late-twentieth-century ‘composers. The majority ofthequarter-tone advocates, as wehaveseen, ‘se these fractional pitches more as embelshmenls of izomaticim than as components ofan integrated system, The proponents ofthe 31- tone scale, however, conceive it to beanentity,tobeused inwholerather than in part. According to one method of construction, the 31-tone scale—which divides the octave roughly into Bfth-tones-is based on the cyele of superimposed mean-tone ifths, These intervals, ofcourse, formed the basis of the tuning system widely used in the sixteenth century. A mean-tone fifth is one fourth of a syntonic comma (21 5e) smaller than a wel-tempered filth (697c to 702c, a difference of Se) As thirty-one mean-tone filths superimposed theoretically arrive at the ‘originating tone eighteen octaves higher, the resulting assemblage of pitches amounts o thirty-two notes, counting the octave note (ntm- bered 0031), ‘By applying the same mechanical method of scale construction that ‘was used for quarter, eighth-, and third-tones plus their respective ‘extensions, an equal-iempered scale of fifth-tones is produced by dividing each whole step ofthe octave into five equal parts. AS 6x5 = 30,the octave pitchin thiseasets number 30(11030).The 31-tonescale, however (numbered 01031), contains twomore fractional pitches than are created by evenly dividing each whole step. ‘Three notational versions of the 31-tone equal-tempered scale are givenbelow for comparison. Thefirst, advocated by Easley Blackwood, {sextrapolatedfromhisextensivestudy ofrecognizablediatonictunings. Note that each of the five standard aceidentalsignsisused seven times, ‘hus forminga fivefold diatoniescaleofsymbols(Example41). ThomasExample et Easley Blackwood: The Scie of Recognize Dito Tuning (20)116 ‘2on-Cenrury Microroxat NovArION Howell notation, ten from his treatise on new techniques forthe ft is more radial ins ebelogy, containing a8 notiqlentarmonis andi tetas and as Example 2) applied oan cial musieal conterthslatr system fhightwelintimidaeall butthemostenthusiastic and tolerant performer SF etpstmental mus consequently, te notations uarated inthe page ocome oer sonewhat more practical soltions (othe problem Treating Bion wha te equalized vunng ofthe 3-norscal: A third otatonal proposal is bythe niscologist Rudolf Rasch (Guample43) noone weys replicates bo Blckoodsand Howells thetods by restrcingissymbcletothe Bebasteacsidentalsigns bu etalow afar any sabarinonleaernaties irl he statin o ine re ove bw So ropost bythe alan toni and keyboard performer, Nicola Vi ace tiene during his period, and necesstated as welty his invention tf the 3rdeyed“eciorgano Vincentin' symbols are based on he Secldenal sigs ofthe time, nipplemented by dots over to of he Sotcoade inthe sequcoe oft plches for ach whole sep. Example 44 Nila Vincentin: La musig ante dota lla modern patios bap Gis Jn 1618 another Italian theorist and keyboard player, one Fabio Colonna had devised a diferent series of accidentals fr fith tones ‘based on progressive extensions of the cross-sign, an early form of sharp. Colonna’s symbology is certainly far too elaborate and space- consuming to offer the contemporary microtonalista viablealternative toany ofthe methods yet tobe illustrated. The “arcicembalo”forwhich hisnotation wasintended hadeight manuals, providing the player with what ineffect weredivided keys forthe enharmonics. Thecembalist was thus able to produce either pure (mean-tone) or tempered interval in a numberof different tonalities, Furni-Tows 4ND te 31-Toxe ScaLE uz Frample 45, Fablo Colonna: La Smbuce Lincs (1618 psicllaelag Quirinus van Blankenburg, the early Dutch composer and writer on ‘musical theory, was the frst to propose the sign |, which he wsed in his notation for fifth-tones, according to Rudolf Rasch. The invention of this symbol has usually been credited to Giuseppl Tartini (in 1754), because he suggested ite used asa semi-fat, or lowered quarter-ione, asoutlined in his Tratarodi Musiea(221), Van Blankenburg’s proposal however appeared some dozen ears caries than di Tartnf sugges Example 4:6 Quirinas van Blankenburg: Bemente musics (1739). fiaehde nour own century the notation offifth-tones has assumed many nd ‘extremely varied guises, asthe examples to follow will verify. But it was inthe late nineteenth century that fulian Carrillo first adkressed the problemof contemporary applicationoffifth-tonesandthelrtohim— logical notation. Although this Mexican pioneer of microtonalism did ‘nothimself composeany works usingfifth-or tenth-tones he did briefly discuss his numerical method applied tothese factional divisions ofthe ‘octave, From a theoretical standpoint Carillo regarded the 30-and 60- Rote scales as five-old divisions of half and whole steps, which he ‘numbered 0 to 29 and 0 to 59 respectively. He also considered the feasibility of fifieenth-tones, numbering this scale as 0 10 89. Once ‘again, the mierotonal composers since Carillo’s time have senored his ‘numerational premise and have continued torely on symbolszelated 9 the traditional staff and all its Familiar accoutrements ‘Based on his theoretical writings and compositional uses, Alois ‘aba's interest in fith-tones was more limited than his partiality to ‘quarter-and third-tones and ther respective extensions. Nonethcles, he did cal fr fifth-tones in his sixteenth string quartet, cited below, Using several symbols borrowed from his proposed quarter-tone nota. tion. In view of George Whitman's conviction (discussed on page 19) ‘thatacertain microtonalsign should never designate other thanasingle