I have been archiving past projects and I ran across this fragment of The Rite of Spring (French: Le Sacre du printemps; Russian: «Весна священная», Vesna svyashchennaya, ‘sacred spring’) and decided it would be interesting to render it in adaptive just intonation since that has been a recent topic of interest on the Facebook group Xenharmonic Alliance II. The video is an overlay of the score and the real time adjustments made by the Kontakt included factory script. I selected the factory brass ensemble which in my opinion rendered a nice version of one of my favorite passages of the piece. YMMV of course. You can find the video here for download.
NOTE: Sonar has a a very odd sense of accidentals if you do not explicitly apply a key.
Forked Tongue is a composition from 2009 that I had forgot about. Perhaps it is forgettable, perhaps not… It was composed using Sonar and Garritan Personal Orchestra. The title is only indicative of the picture of a snake my cat found and brought home to show the pet she had found.
standing in the cornfield you watch the corn grow and
the searing hot days pass on to night to day to night to day,
taller and taller, until you are one with all there is…
for you are one of them…
your roots dig soil,
your stalk stretches greedily for every ray of the murdering sun
in the anguish of a midsummer’s thirst…
For two 17 edo guitars in 17 edo’s version of the whole tone scale. The whole tone scale in 17 equal (edo) is unusual in that being an odd-numbered tuning it takes 3 octaves before the scale comes to its starting point. Each step is three steps of the 17 equal 70.59 cent small step – a total of 211.76 cents. I try to keep myself constrained to the scale but do stray at times. A longer version with percussion is here.
Perseus Cluster (processed electric aeolian harp) is an ambient directed aleatoric piece – the wind played the aeolian harp after I tuned it. I recorded the result and then I processed the harp through a battery of effects to create an ambient piece that consists of a drone of processed harmonics.
Etude for Piano in 22 edo Superpyth  is another in my series of writing something playable for a piano student that has modest skills in a microtonal tuning. Since this tuning is in a 12 note per octave subset of 22 notes per octave the score is to be played as written after setting your sound source to the tuning below. For the sake of comparison the 12 equal version is here.
The full score is here. Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet 🙂
By Tony Hisgett from Birmingham, UK, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=18249270
Eagle is a new tuning that John O’Sullivan and Jake Freivald collaborated on. I performed a three part guitar / bass improvisation in 12 equal and used melodyne to tune it to to the new tuning since John has targeted guitar for this tuning. There are three presentations – the original clean 12 equal track and the clean melodyne retuned version. Lastly I couldn’t resist adding some effects to the eagle version which “dressed” the instruments into a “radio” version. The asterisks denote chords used in the improvisation, though I freely added embellishments and non-chord tones in places.
A Major chord is 2:3:4:5:6:8
A minor chord is 10:15:20:24:30:40
A three-four-five chord is 3:4:5:6
*E (1/1) 2:3:4:5:6:8 and 10:15:20:24:30:40 (major and minor appear)
F (16/15) 2:3:4:5:6:8
F# (9/8) 3:4:5:6
*G (6/5) 2:3:4:5:6:8
G# (5/4) 10:15:20:24:30:40
*A (4/3) 2:3:4:5:6:8 and 10:15:20:24:30:40
A# (7/5) 7:9:12 and 15:20:24 and 21:28:36
*B (3/2) 2:3:4:5:6:8 and 10:15:20:24:30:40
C (8/5) 2:3:4:5:6:8
C# (5/3) 10:15:20:24:30:40
D (9/5) 3:4:5:6
D# (15/8) 10:15:20:24:30:40