The Destruction of Palmyra is a short electronic tone poem in 19 edo that uses 5 instances of Absynth 5.
in C was a visit to the traditional keyboard in 12 equal after being away for a while. For curiosity’s sake I took the midi file and ran it through some alternative tunings. The last version has a radically different take on the orignal.
The Underground is an electronica piece using 5 instances of Z3TA+ 2.2 and only EQ on the bass ostinato without any other effects (besides what is in Z3ETA+ itself). The tuning used is simply a just major – minor seventh chord excluding bends. 1/1 9/8 5/4 3/2 7/4 2/1 or root, just major third, perfect fifth, just minor seventh, octave. The picture above is the spectrum analysis of the piece.
Fantasy for Piano Tuned to 10 edo started off as an exercise to break try to disrupt common rhythmic patterns. It starts out a bit mad but soon tones down. 10 edo is an interesting tuning because it doesn’t sound as foreign (to me) from 12 as one might expect.
The Sorrow of Aleppo is a 19 note per octave guitar solo that uses a “drop D” tuning modification. The scale in 19 edo is 0 3 5 8 11 13 17 19 or D E F G A B`b C^ D where ^ (up) and `(down) indicate 19’s version of “quarter tone” modifications. Works out to be a “D” melodic minor variant. Please excuse the wrong notes here and there.
Disclaimer is a piece for piano, string orchestra and synthesizer in 10 notes per octave that is a bit strident.
I used Audio Paint 3.0 by Nicolas Fournel to create just intonation audio files generated with sines using the graphics as score. Click on them for a full size version. The tuning is essentially a just major 7th add 2 chord. The stereo space is split so that one channel responds to red intensity and the other to blue intensity. Each row of pixels is considered an oscillator and there are 256 of those in each “score”. The audio range is from 55Hz to 2048Hz.
5 note harmonic
The Loop is an experiment in audio manipulation. It was made by taking sections from a 17 edo electric guitar recording and manipulating the individual notes to change the harmonies and sequences in Melodyne Single Track using their “Direct Note Access” with the Melodyne tuning set to 17 edo. Then the 10 fragments were stretched with Paul’s Extreme Sound stretch. After that the fragments were arranged into two stereo tracks in Sonar, effects applied, exported and normalized.
Right-click and download Dirts of Mud
foot prints in the sand (Track #3)
My friend Mike came over yesterday (in March of 2009) and we jammed for the first time in twenty years. This is the third part of the session. We recorded me on Roland GR-20 guitar synth and Mike on my Korg MS 2000 audio – Mike was also recorded midi. I used the midi to drive various soft synths – during and after the jam. This is an improvisation that was edited but only music taken away not added
Right click and download Pam is Blues
foot prints in the sand (Track #2)
This is an uncut improvisation from the last time Mike was over. All I did was tie Mike’s playing into a couple some effects. Mike drives piano + choir + effects and I use the Roland GR-20 guitar synth. Since it is an uncut improvisation – it has mistakes and lasts a little bit more than forever. In case you are wondering… it is A minor to G forever with just a touch of variation.
This is the 2nd of 3 sections from that afternoon. Dirts of Mud is the 3rd. – I don’t believe part 1 saw the light of day – too rusty
It took some effort to get the official audio recorded by the Wake Forest Brindle Recital Hall staff. The Recording is significantly clearer and more dynamic than the recording made with my Zoom H2. I did cut a few seconds of dead air from the start so this starts a bit quicker. I’ve copied the liner notes since they are essentially the same as the Zoom H2 post.
Runway Lights (in 128) was the solo I performed at Wake Forest University in Winston-Salem North Carolina on the 26th of September 2015. The recording you hear is from the university mics. The title is actually a misnomer – a mistake on my part created when Johnny Reinhard needed the title for the program and I gave him the title of a piece that was in Blue JI instead the piece in 128 which I intended. My bad, but then the 128 piece didn’t have a proper title.
The picture you see above is the light layout I used to perform the solo in. Striking is the fact that the lights to not fill up the Linnstrument (the pads between lit notes are active). This is because I have the device in “no overlap” mode and what you see are all 128 possible midi notes in a 200 pad form factor. While it may look constraining it is much better format than I have had before for 128 since a full octave of notes are available. The timbre of the solo was in form was a progression where I started with pianoteq and added and subtracted other samplers and synthesizers. The brief pauses are where I made changes during the performance to both the sound generators and Linnstrument. The pitch content of the performance followed an outline I had developed in the days before the performance and takes advantage of the Linnstrument’s ability to send midi data out in a “channel per note” to the synthesizers in omni mode allowing me to hold notes and slide others at the same time.
The software used was Windows 7, Sonar X3, Pianoteq 5, Kontakt 5 (factory library), and Z3TA+ 2.1 (two instances) on a 3 core AMD cpu laptop. I didn’t midi record since in the past I had a nasty experience where my laptop crashed while trying to record midi.
I would like to thank Johnny Reinhard, Director of the American Festival of Microtonal Music, and Aaron Matthew Bachelder for arranging our three nights of performances in Winston-Salem NC.