For the Sunset is a 22 edo composition in 70’s rock ensemble format. I’m using my newly installed GK-3 pick up to run the guitar through a Boss GP-10 guitar processor to obtain a faux 22 edo 12 string (opens the song), a Les Paul through stack like lead (alternates with guitar rig 5 lead) and the bass sound. The straight 22 edo sound is present as a counter weight rhythm with chorus. The drums are a mix of hand placed samples and loops. The composition was recorded and mastered in cakewalk Sonar. Yes the first two chords are the 22 edo equivalent of the opening of a famous 70’s song (I like the sound of the two chords, sorry) but the resemblance ends there. The form is ABCA with B’s chord progression becoming pretty chromatic against drone strings.
Archive for the ‘22 edo’ Category
A Guide to Window-Dressing is processed 22 edo electric guitar.
valet parking for two 22 edo guitars is a two pass composition based upon a few chords and melodic lines I liked when playing my 22 note per octave guitar. For the record this was the first time I used a capo on a microtonal guitar (to avoid hand strain).
Left to Right Andrew Heathwaite, Aaron Krister Johnson, Jacob Barton, Dan Stearns and myself
These recordings are totally unrehearsed improvisations that took place at my home. As a consequence there is wandering and going down paths that were discarded. I attempted to curate the best parts of an all day session. Much of the music wouldn’t make sense without enduring the development before something jelled. Two pieces of this session were previously released and are included here to complete the session. Instruments – voice, trombone, udderbot, clarinet, 15 edo, 17 edo, 19 edo, 20 edo, 22edo guitars and fretless banjo, guitar and bass, gongs, Tibetan singing bowls, DIY erhu, 31 edo bouzuki, various electronics and percussion. We freely mixed tunings and our compositional goal was to have a good time! We hope you enjoy these recordings.
Solving Thou words by meolog, sung by Christiane Offenbar, translated by Heinz Bohlen, composition Chris Vaisvil for synthesizers in 43 note overtone series, 11 limit 12 note tuning from Scala archive, 22 edo guitar, percussion and Christiane’s free a Capella singing.
22 edo electric guitar duet is exactly that in a rock idiom.
Pen and Quill is performed with a rock ensemble (guitar x3, piano, bass, drums, vocals such as they are) in 22 notes per octave of a poem I wrote some years ago with edits. I apologize for my voice wavers – I’m not a good singer and trying to sing microtonally is even more challenging. But, hopefully on the whole you will find it worth putting up with.
I don't know what the tomorrow is But I'm sure it is written Inscribed in something sacred Letters in drying ink On page to page Flipped by the breeze Flowing past, the past, It is all we keep all we keep I sat there, stood there, And yes I listened I listened too well To every word and gesture Recorded and filed By ink and quill Reflected by mirror oh yeah It somehow becomes less, Less of a puzzle, But more of a trouble, To understand And I still stand Yet the room has changed How the past shapes the future But nothing is ever plain The enigma is this nettle of time With its plaintive scraping Of pen and quill With its plaintive scraping Of paper and quill It is all we keep It is all we keep I sat there, stood there, And yes I listened I listened too well To every word and gesture Recorded and filed By ink and quill Reflected by mirror It somehow becomes less, Less of a puzzle, But more of a trouble, To understand And still I stand And still I stand
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.