Linnstrument Improvisation in 106 edo (audio only) is a moderate length piece that explores the wonderful soundscape that 106 edo can create. In a previous post I received this comment on Reddit’s microtonal subreddit “I generally like the sound of Bohlen-Pierce. I’m interested in this piece but confused by your methodology.” So I thought I would write something about my improvisation method as the video compiles. Essentially my approach to improvisations is an aurally informed pattern recognition with development. If you watch the video closely you will see places where I run into a note combination I don’t like and back away from it somewhat quickly and in others where I find a fingering I like and replicate it in either hand or as “blocks” played off against each other. 106 notes per octave makes melodic development especially challenging though it is rich harmonically with many nuances and to my ears a way of letting you settle into a harmony that may at first sound strange but re-orientates your ears to hear it as pleasing or at least interesting. Certainly with 106 edo it is very hard to get caught up in 12 edo sounding cliches! So I hope that gives a little bit of an answer to the question I received on Reddit. video download
Best viewed at the highest resolution available. The native video is in 1080p
By using Celemony’s Melodyne Editor I rearrange the notes within a droning sample from my DIY electric aeolian harp. The tuning is nominally Bohlen-Pierce (stock with Melodyne) but the nature of the aeolian harp means additional pitches are present.
Download Audio or Video
The tuning is this file from the Scala archive
! bohlen_diat_top.scl ! BP Diatonic, TOP tuning (245/243 tempered) 9 ! 141.64621 440.43170 582.07790 880.86339 1022.50960 1321.29509 1462.94130 1761.72679 1903.37300
Iridium Platinum Meter – for harp, alto flute, upright bass, drum kit – Valentine-porcupine circulating strictly proper 15-note lesfip tuning developed by Gene Ward Smith – see scala file below.
! valenporc15.scl ! Valentine-porcupine circulating strictly proper 15-note lesfip scale, 11 limit diamond target, 13.8 to 15.5 cent tolerance ! approximately 555556655555555 in 77edo 15 ! 79.99698 158.13771 233.53897 314.10167 389.50293 467.64365 547.64064 623.18179 701.41713 780.49908 873.82032 967.14156 1046.22350 1124.45885 1200.00000
The video is best viewed full screen. The half-speed version starts after a “note for nothing” to capture the reverb tail and a few seconds. The passing tones are very evident and dissonant in the half speed version. Loquebantur_variis_linguis PDF
incidental music in 20 notes per octave (guitar)
Created by using the Matrix View in Sonar by playing field and generated samples.
In 24 edo (largely) using Shoom, Gestrument, and Bowls HD => download
The tempest prognosticator comprises twelve pint bottles in a circle around and beneath a large bell. Atop the glasses are small metal tubes which contain a piece of whalebone and a wire connecting them to small hammers positioned to strike the bell. In his essay Merryweather described the workings of the device:
“ After having arranged this mouse trap contrivance, into each bottle was poured rain water, to the height of an inch and a half; and a leech placed in every bottle, which was to be its future residence; and when influenced by the electromagnetic state of the atmosphere a number of leeches ascended into the tubes; in doing which they dislodged the whalebone and caused the bell to ring. ”
— George Merryweather
The leech would have difficulty entering the metal tubes but would endeavour to do so if sufficiently motivated by the likelihood of bad weather. By ringing the bell it would signify that that individual leech is indicating that a storm is approaching. Merryweather referred to the leeches as his “jury of philosophical councilors” and that the more of them that rang the bell the more likely that a storm would occur.
In his essay Merryweather also noted other features of the design, including the fact that the leeches were placed in glass bottles placed in a circle to prevent them from feeling “the affliction of solitary confinement”