I Live by the Cemetery – Bethan Mathis recites a poem I wrote some time ago inspired by late nights working and driving home past a cemetery that always had foggy apparitions in the 4 am winter air. The composition uses 17 edo and harmonic series filtering as well as self-made harmonic series aeolian guitar samples. I am very much indebted to Bethan’s dedication to our poetry project. More on that to come.
Archive for the ‘microtonal’ Category
I Play The Wind
Using my DIY 23 edo guitar, DIY electric cello, and DIY electric psaltery I recorded the wind playing these instruments after they were tuned in just intonation or harmonic series relationships. Adding to the harmonic series nature of this composition is the fact that the aeolian does not sound the fundamental – so what you hear are only harmonics of the strings. To create this composition I complied about 8 hours of 44.1kHz 24-bit recordings, noise reduced, selected sections and sequenced in Sonar X3. After I finished with the audio I paired it up with time lapse video I took of the sky. Doing this in my spare time, making recordings and processing them into a composition took several days of work.
For Piano, Syntheizers, and Disembodied Voice in 16 edo – an experimental study in tempic instability.
A Song for the Solstice A Song for the Solstice
The ice is thin, the ice is thin -
the shore more distant year by year,
and nearly sixty since I left it now.
There is no going back again.
And I am old yet not so very old -
I bless the ice. I pray for cold.
Thin Ice is a piece for Alto (Christiane Offenbar in adaptive JI), Female Choir in 16 edo, Harp in 8 edo, bass drum and tamtam.
by Richard Leach
and recited / sung (in 12 edo / JI) by Christiane Offenbar
and 11 edo vocoder / 11 edo synthesis by Chris Vaisvil
the one that appears once in forty-four years.
Not the one that is full for a single night -
the one that is full every night it is in the sky.
Not the one on which to see a man or a rabbit -
the one on which there are branches and leaves in silhouette.
Not the one that is drowned out by a glowing city -
the one that is as bright above a city as it is where the sky is darkest.
Not the one by which you might read a newspaper headline -
the one by which you can read what had been invisible.
Not the one whose name is part of a figure of speech -
the one that asks us to say something new.
Not the one that rhymes with hue and shoe and June and spoon -
the one that rhymes with night and weight and hold and hope.
Blue Moon, Blue Moon, Blue Moon
And hope Blue Moon, Blue Moon, Blue Moon
The Broken Cathedral of Christchurch is an ambient poly-tuning piece using 11, 12, and 19 notes to the octave. The instruments used are a Korg MS2000 synthesizer, 19 edo electric guitar (several tracks), and 5 string bass – all with liberal application of effects, mixing, and mastering. The piece is dedicated to the Anglican cathedral of Christchurch New Zealand which will be brought down and rebuilt due to extensive earthquake damage.
This is a repost because the original post was damaged.
Under the Ice of Europa is an ambient piece for only the most dedicated. It has a run time of 42 minutes and should be listened to at a very loud volume to get the full effect. The initial sound sources were 5 instances of EFM Synthia 2 (EMI Synthi emulator) 1 instance of Altair 4 and 1 instance of Albino. There was a lot of work done in the sound design of synthi patches and arpeggiation was applied to all tracks. Then, yes I ran it through PES, but not with default settings. I used three instances, two of which were through the harmonic filter with 21 harmonics at a just fifth and the three outputs mixed together. Its a pretty complex mixture that is constantly changing. However, I realize 42 minutes of anything is a difficult hand, so my hat is off to you if you decide to try it and actually make it all the way through.
Grasping Clouds is an ambient piece for electric 15 edo guitar and a slew of effects – some of which add a touch of 12 edo to the mix.