Archive for the ‘string orchestra’ Category

For Aeolian Harp, String Orchestra, and Piano

Saturday, January 11th, 2014


For Aeolian Harp, String Orchestra, and Piano is a semi-aleatoric composition that uses a wind played aeolian harp to determine the score for the string orchestra and piano, both of which are tuning to 7 limit just intonation centered on C via pitch determination software.

Along the War Avenue of Honour – for Poetry Recitation, String Orchestra and Percussion

Tuesday, June 11th, 2013
click picture for complete compilation

click picture for complete compilation

Along the War Avenue of Honour

Poem by Francis Duggan
Poem selected and recited by Bethan Mathis
Music composed by Chris Vaisvil
Selected for the ANDREAS N°15 – 14​-​18 First World War – FRACTION STUDIO COMPILATION

Along The War Avenue Of Honour

Along the war Avenue of Honour a plaque to a dead soldier nailed to every tree
Brave young men who died in battle their reward for their bravery
They died in the war said to end all wars in the killing fields of World war one
But many wars since and far too many bloody battles and peace in the World not yet won.
Wars started by silly ageing men who send the young for them to die
Ageing men who themselves will die of old age and their twilight years they will enjoy,
ageing males heroes of their people we honour cowards as heroes one might say
The young men will go to war for them and the young men with their young lives pay.
The war supposed to end all wars long over almost nine decades since have gone by
But many wars have been fought since then and war pilots drop their big bombs from the night sky
But suppose that’s what will always happen when we give all of our power away
To silly and ageing male war men who with hair dyes cover their gray.
Along the war avenue of honour long dead soldiers names on every tree
Young noble men who died in battle far from homeland and family
In what was to be the war to end all wars yet we don’t have much wisdom to show
For the loss of so many fine young men well over eight decades ago.

Carl Ruggles Organum for 2 Harmonic Series Tuned Pianos

Sunday, May 12th, 2013


Organum for 2 Harmonic Series Tuned Pianos composed (in 12 equal) by Carl Ruggles. I have two competing music thoughts – microtonality and the dissonant music of the 20th and 21st century. What lies between them is a wonderful connection because in many respects the music of our period has been written for 12 equal in a way that the music of the 19th century and before wasn’t. So in that sense 12 equal is being used like one would, for instance, 14 or 16 equal. Carl Ruggles is a great example of this. There is very little, if any, sense of classical functional harmony in his work. Of the few pieces he let survive him they all carve out a new vista and a way of treating 12 equal contrapuntally without the use of Schoenberg’s pantonal system.

By way of oblique comparison I am posting a 12 equal version string orchestra version of the two piano transcription of the originally orchestral Organum. Sort of the long way around… but I like it and perhaps you will too.

The harmonic series tuning for the piano version I used follows:

! C:\Cakewalk\scales\harm3-26skip2reduce2oct.scl

The Triumph of Saint Cecilia

Friday, July 20th, 2012

The Triumph of Saint Cecilia is a piece for Soprano and String Ensemble in 7-limit Just Intonation. Saint Cecilia is the patroness of musicians.

Quartertone Study for Strings – Easy DIY Microtonal Composing

Wednesday, July 4th, 2012

Short Quartertone Study for Strings is a demonstration with score on how anyone with a program that allows note input and a over-all tuning adjustment sound source (sampler, synthesizer) can start writing microtonal music today. The basic idea is to have two copies of your sound source with the same sound tuned a quartertone (50 cents) apart. If you can’t figure out where the quartertone is in the tuning adjustment simply load two copies and on two separate midi channel place an A and a Bb and adjust the tuning until the two notes sound the same. Make note of where you started and where you ended the adjustment because the half-way point in 99.999% of the cases is a quartertone. Then, while its weird to do at first, use the two scores to enter data for the one sound. In my score the top staff is unadjusted (i.e. normal) and the bottom staff is a quartertone sharp. So if you want an A quarter sharp you put an A on the bottom staff. If you want an A three quarter sharp you put a Bb on the bottom staff. If you want a regular A use the top staff. This method will work with practically any VSTi or Audio Unit and music composing program. More information about quartertone music can be found here on Wikipedia.

The oddities seen in my score explained – the really low notes in measure 1 turns off vibrato and the very last stray note is to make sure Sonar captures the tail end of the reverberation of the real part of the score. That note was edited out of the final mp3.

Memory of Being Told a Falsehood

Saturday, May 26th, 2012

Francois Lemoyne, "Time Saving Truth from Falsehood and Envy (1737)

Memory of Being Told a Falsehood is a piece for string orchestra that was improvised on an Alesis Q49 and recorded in Sonar X1.

The Stillness of my Heart for chamber ensemble

Saturday, May 12th, 2012

The Stillness of my Heart for solo viola, string ensemble, glass marimba, cymbals and electronics using adaptive JI (just intonation) tuning.

Mindaugas Rex Lithuaniae

Wednesday, April 18th, 2012

Mindaugas Rex Lithuaniae
is a piece for string orchestra using 9 note MOS scale called superpelog[9] in 23edo(detailed below). It was performed on an AXiS 49 with Sonar X1 and Garritan Personal Orchestra 4.0 – Mindaugas was the only King of Lithuania.

! 5deg23MOS9
A MOS-generated scale