SMOL | An introduction to quarter tones on the oboe

[@ContrapuntalComposer]

As a composer, I would really like to know the following: 1. Generally, can the qualities of ensemble blending that is expected of standard woodwind instruments for standard 12-tone music in chamber and orchestral settings be reasonably expected also for quarter-tone chamber and orchestral music? I ask because (A) perhaps the intonation is bad and (B) perhaps the timbres are inconsistent. 2. Generally, can the facility and dexterity for quick runs and arpeggios that is expected of standard woodwind instruments for standard 12-tone music be reasonably expected also for quarter-tone music? I ask because of the specialized fingerings. (I am not a woodwind player, so I assume, perhaps incorrectly, that generally, upward runs involve the release of the lowest keys first, etc.) 3. Generally, if I compose quarter-tone music for professional-level chamber and orchestral woodwinds with the same tempi and textures for which one would normally compose 12-tone music, should I expect good results? (I ask because I've noticed that it doesn't take much novelty for even some intricate and quick diatonic music to sound unintentionally Ives-ish, even with professional-level players.) 4. Are there any particular quarter-tones notes that must be altogether avoided on the oboe (or other woodwinds)? 5. Is it true that the harmony of quarter-tone based chords (typically justified by approximations to 11-limit and 13-limit just intervals vs the 5-limit just intervals that underlie 12-tone chords) is so difficult to tune that it should be avoided on woodwinds with their well-focused tones (vs. large string sections with their mass and vibrato)? 6. Concerning question #5 (above), how is the answer affected by the use of woodwinds to double string parts in an orchestra?