Dedication

November 23rd, 2014

Dedication is a piece for Alto Flute plus an electronic accompaniment (in old time parlance “tape”) in 24 edo (quartertone aka 24 et). Thank you Amy Shankland for providing the voice and also Vox Novus for commissioning this piece. The score is here – if you are interested in performing this piece you can contact me and I will supply the accompaniment for you. If you look at the score you will see that the percussion and effects are not “explicitly” written out. That is because I am availing myself of the samples in the Kontakt packages I purchased. However, the synthesizer and synthesized piano scordatura are accurate.

And the princes bring near the dedication of the altar in the day of its being anointed; yea, the princes bring near their offering before the altar.

And Jehovah saith unto Moses, `One prince a day — one prince a day — do they bring near their offering for the dedication of the altar.’

Numbers 7:10. 7:11 Young’s Literal Translation of the Bible

Embrace the Porcupine (15 edo)

November 22nd, 2014
click to enlarge to see tuning

click to enlarge to see tuning

Embrace the Porcupine is a melodyne 15 edo Porcupine retuning of The Enemy Entropy (with edit) in 12 edo.

The Enemy Entropy

November 21st, 2014

S0735394rs

The Enemy Entropy – vocals and electric guitar through effects.

In Time of Emergency (Part 2) 11 edo

November 20th, 2014

OLYMPUS DIGITAL CAMERA

In Time of Emergency, part 2 is an ambient electronic composition for classical guitar, brass, software synthesizers, effects, U.S. Department of Defense Office of Civil Defense literature (1968) and female voice (by librivox.org).

  • If an enemy should threaten to attack the United States, you would not be alone.
  • The entire Nation would be mobilizing to repulse the attack, destroy the enemy, and hold down our own loss of life.
  • Much assistance would be available to you–from local, State and Federal governments, from the U.S. armed forces units in your area, and from your neighbors and fellow-Americans.
  • In Time of Emergency (Part 1) Partch 43

    November 18th, 2014

    itoe001

    In Time of Emergency, Part 1 is an ambient electronic composition for software synthesizers, effects, U.S. Department of Defense Office of Civil Defense literature (1968) and female voice (by librivox.org).

  • A major emergency affecting a large number of people may occur anytime and anywhere.
  • It may be a peacetime disaster such as a flood, tornado, fire, hurricane, blizzard or earthquake.
  • It could be an enemy nuclear attack on the United States.
  • In any type of general disaster, lives can be saved if people are prepared for the emergency, and know what actions to take when it occurs.
  • A Song for the Eternal Twilight of Purgatory

    November 15th, 2014

    A Song for the Eternal Twilight of Purgatory

    A stretched version of my final music theory presentation “A Song for the Twilight” that was rendered in JI as determined by inspection. The scored version will surface once I deal with some technical issues.

    Radio Chatter (ambient 24 edo)

    November 15th, 2014

    Guglielmo_Marconi_1901_wireless_signal

    Radio Chatter is a layered improvisation that uses several instances of Absynth 5, one of Kontakt, and one of Garritan World with effects in Sonar X3

    Thanks to Trebblofang at Freesound.org for the shortwave sample I manipulated.

    Agilkia Landing Site (ambient, Partch 43 note harmoic series set )

    November 14th, 2014

    Agilkia_landing_site_on_comet_67P,_6_November_2014_-_NAVCAM

    Agilkia Landing Site is an ambient piece using the Partch 43 note overtone series tuning.

    amused for bells in 22 edo

    November 11th, 2014

    DSCF1053crop

    amused for bells in 22 edo is a short 22 equal study using pianoteq’s tubular bells patch.

    Estampie for 22 edo electric guitar and drum kit

    November 5th, 2014

    Pic0050cut

    Estampie for 22 edo electric guitar and drum kit
    Opinion is divided as to whether the Estampie was actually a dance or simply early instrumental music. Sachs believes the strong rhythm of the music, a derivation of the name from a term meaning “to stamp” and the quotation from the Froissart poem above definitely label the estampie as a dance. However, others stress the complex music in some examples as being uncharacteristic of dance melodies and interpret Froissart’s poem to mean that the dancing begins with the carol. There is also debate on the derivation of the word “estampie”. In any case, no description of dance steps or figures for the estampie are known.