Archive for the ‘improvisation’ Category

Spring in February

Monday, February 20th, 2017


Spring in February is an edited improvisation on my Linnstrument playing Pianoteq tuned to SuperPyth mode 1 in 22 edo. I hope you like it. It was nice to step away from 19 edo – and yes I was inspired by Brendan Byrnes excellent xenharmonic tutorial video.

! D:\cakewalk\scales\22_SP\22_SP_mode1 ET.scl
!
22_SP_mode1 ET
 12
!
 54.54545
 218.18182
 272.72727
 436.36364
 490.90909
 654.54545
 709.09091
 763.63636
 927.27273
 981.81818
 1145.45455
 2/1

The Era of Fake News

Saturday, February 18th, 2017


The Era of Fake News was done by using a 70’s fuzz pedal with a cardioid mic to sample gongs, cymbals, singing bowls and chimes. These samples were then loaded into Sonar’s Matrix View and used to create a performance which was captured. Massive reverb was added.


The Era of Fake News Sanatized is the same track using Paul’s Extreme Stretch’s tonal only switch – no time stretching.

If you want to sample it – please give me a credit and link back.

20170214 19edo Multi Controller Directed Improvisation

Tuesday, February 14th, 2017


audio only

Some Time Alone 17 edo

Thursday, February 9th, 2017

Some Time Alone for 17 edo guitar. A lost post from 2011

As the title says I spent some time with my 17 et guitar. I purposefully tried doing non-12 sounding stuff with what I think is moderate success. I believe I will have to resort to some “dots” to get some new scales in 17 et down – there just is too much to keep track of when I change strings causing the patterns to be transposed. I apologize for the sloppy classical guitar – ish playing.

Two Duet Guitar Pieces in 19 edo

Wednesday, February 8th, 2017

Infinity Bridge, Stockton on tees, the iconic footbridge across the River Tees



Stockton Bridge (clean)


Winding Bridge (distortion)

un·in·tel·li·gi·ble for 19 edo guitar and voice

Monday, February 6th, 2017


adjective: unintelligible for 19 edo guitar and voice
impossible to understand.
“dolphin sounds are unintelligible to humans”
synonyms: incomprehensible, indiscernible, mumbled, indistinct, unclear, slurred, inarticulate, incoherent, garbled

Submariner_1025_383_[19] Meantone

Wednesday, January 25th, 2017


A 6 minute or so Linnstrument improvisation with the newly minted Submariner_1025_383_[19] Meantone from Scott Dakota.

! Submariner_1025_383_[19].scl
!
Period: 1025/512, generator 383/256. Septimal meantone with a lot of /2^n self-coherent-beating intervals. Scott Dakota Jan 2017.
19
!
75.32556
117.86601
146689/131200
268.51712
67240000/56181887
386.38313
428.92358
1025/766
579.57469
622.11514
383/256
772.76625
815.30671
56181887/33587200
933.17271
1050625/586756
1083.82383
1126.36428
1025/512

9 note diatonic Bohlen-Pierce Improvisation

Monday, January 23rd, 2017

9 note diatonic Bohlen-Pierce Linnstrument and Pianoteq Standard Improvisation – Tuning supplied by Scott Thompson
audio only

! BP-iso579-MOS9.scl
!
9-note MOS of BP diatonic with linear/isoharmonic 5:7:9, per Steve Martin | p = 3/1 (1901.955 c) | g = 438.038 c
!
9
!
288.235
438.038
726.273
876.076
1164.311
1314.114
1602.349
1752.152
1901.955

Linnstrument using Soniccouture’s reed organ in Adaptive JI

Friday, January 20th, 2017


audio only

Linnstrument Improvisation in 106 edo (video)

Monday, January 16th, 2017



(best viewed full screen, video is 1080p)

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