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Its something I never tried – for some reason I just thought that the Kontakt note per octave would stop at 99 notes per octave and just never tried to push it much past 26 edo or so. But, when investigating things related to my Parva I just let the note per octave number go…. well into the 300’s with no sign of hitting a limit. Of course, with only 128 midi notes, 300 divisions of an octave in one instrument is not terribly useful, though 106 edo is something I’ve come to really enjoy and the Kontakt Factory String Ensemble in all of its glory accepts this tuning with grace and poise. No chipmunks or weridly mutilated samples here! So, for my enjoyment and I hope yours as well, I present this short 106 edo improvisation. Clicking into the note per octave number lets you type in your desired division directly.
Archive for the ‘string orchestra’ Category
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An improvisation in Scott Dakota’s Submariner_1025_383_ (see previous post for scala file) – This improvisation tends to dwell on harmonies created from a virtual viola ensemble. More tuning details – Period: 1025/512, generator 383/256. Septimal meantone with a lot of /2^n self-coherent-beating intervals. Scott Dakota Jan 2017.
! ji_12.scl ! Basic JI with 7-limit tritone 12 ! 16/15 9/8 6/5 5/4 4/3 7/5 3/2 8/5 5/3 9/5 15/8 2/1
The Ontological Argument is a piece for Kontakt 5 factory string ensemble in adaptive just intonation with a “natural seventh”.
Parmenides was among the first in the Greek tradition to propose an ontological characterization of the fundamental nature of existence. In his prologue or proem he describes two views of existence; initially that nothing comes from nothing, and therefore existence is eternal. Consequently, our opinions about truth must often be false and deceitful. Most of western philosophy — including the fundamental concepts of falsifiability — have emerged from this view. This posits that existence is what may be conceived of by thought, created, or possessed. Hence, there may be neither void nor vacuum; and true reality neither may come into being nor vanish from existence. Rather, the entirety of creation is eternal, uniform, and immutable, though not infinite (he characterized its shape as that of a perfect sphere). Parmenides thus posits that change, as perceived in everyday experience, is illusory. Everything that may be apprehended is but one part of a single entity. This idea somewhat anticipates the modern concept of an ultimate grand unification theory that finally describes all of existence in terms of one inter-related sub-atomic reality which applies to everything.
Landscape for 22 edo String Orchestra was composed and performed on the Linnstrument using Dimension Pro.
USS North Dakota – MS2000 synthesizer solo in Scott Dakota’s “Submariner” tuning
! Submariner_CS_MirrorChromatic_V1_TemperA(12).scl ! Submariner CS MS V1, tempering: 3328/3325, 6144/6137, 45125/45056 - Scott Dakota, April 2015 12 ! 130.53090 167.24535 297.77625 385.79376 516.32466 553.03912 683.57001 814.10091 902.11842 981.34626 1069.36378 1199.89467
The incorrect BP
By request I took Stuck at the Screaming Toll Booth and changed the tuning to 13 edo and for good measure included Bohlen Pierce as well since it is another native 13 note tuning. What amazes me is that the opening sounds identical in each tuning but by the middle of the piece the differences are very apparent,
especially with BP.
Apparently Aria has an issue with a period of 3/1 – every tuning I’ve tried so far with a 3/1 period plays incorrectly. The opening descending motive is transformed. Here is the midi file for you to try yourself. 20140502_13
Stuck at the Screaming Toll Booth is a string orchestra (Garritan GPO) improvisation with some edits in Gene Ward Smiths hilim 13 tuning (below).
13 patent val epimorphic 220.127.116.11.19 scale
(it will take a bit of time for the music to load before it plays)
Baltica is a piece requested by Greg Hooper that blends the original harmonic series electric cello performance source and the (mostly) unedited semi-aleatoric midi rendering produced by sonar X3 with string ensemble supplied by Kontakt 5 in harmonic series, root in C1 this time.
The Music She Kept in Her Locket is a composition for string orchestra that is a short study in manipulations of repeated syncopated figures.