Archive for the ‘piano’ Category

Now Yer Talkin (JI piano)

Tuesday, August 23rd, 2016

now_yer_talking The score is here.


Now Yer Talkin is a short piece for piano. The composition is through composed. The tuning was developed by Doug Blumeyer and he asked for piano piece. This composition uses the comma shifts in the tuning to a fair degree in the right hand part. The tuning is here as a scala file.

Here is a half-time version to bring out the harmonies a bit more.

Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet.

Chagall [17]

Tuesday, August 16th, 2016

chagall[17] Graphic by Scott Dakota August 2016

Scott Dakota developed a new tuning called “Chagall[17]” and I record a Linnstrument improvisation with pianoteq in the tuning as a demonstration. The tuning is below.

! Chagall[17].scl
!
(771/256)^(1/3) generator, ~13/9. Superb scale. Like 17&83 temperament in the 2.7.9.11.13.(23) subgroup. Scott Dakota, July 2016.
17
!
72.46964
144.93928
217.40892
289.87856
346.35626
418.82590
491.29554
563.76518
636.23482
708.70446
781.17410
853.64374
910.12144
982.59108
1055.06072
1127.53036
2/1

Piano Exercise in 17 Notes per Octave (August 2016)

Monday, August 8th, 2016

17edo_august

This Piano Exercise in 17 Notes per Octave (August 2016) is another in my series of writing something playable for a piano student that has modest skills in a microtonal tuning. The score is purposely scordatura because I think that notating in various microtonal accidentals is simply a burden when a person with a 12 equal midi controller and microtonal aware sound source set to 17 notes per octave (like a free Xen-Arts VSTi) can simply play the score as if it was written for 12 equal but the sound will be in 17 equal and produce the microtonal music of the score. The composition is somewhat free form with development.

The full score is here. Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet 🙂

Below is an animate score version

Etude for Piano in 22 edo Superpyth [12]

Thursday, July 7th, 2016

etude22


Etude for Piano in 22 edo Superpyth [12] is another in my series of writing something playable for a piano student that has modest skills in a microtonal tuning. Since this tuning is in a 12 note per octave subset of 22 notes per octave the score is to be played as written after setting your sound source to the tuning below. For the sake of comparison the 12 equal version is here.

The full score is here. Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet 🙂

! 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

a confounding factor (for piano in Eagle tuning)

Thursday, June 30th, 2016

a_confounding_factor

See the previous post for the tuning

a confounding factor (for piano in Eagle tuning)

a confounding factor (for piano in 12 equal tuning)

a eighth note reduced “read-along-score” PDF

And here is a bonus piece that tries to be very tonal

An Equitable Arrangement (37 edo subset)

Sunday, June 19th, 2016

page1-463px-Guide_to_Equitable_Sharing.pdf


An Equitable Arrangement is an improvised solo piano piece played on an 2011 Alesis Q49 using pianoteq in Margo Schulter’s equable heptatonic tuning of 37 edo with the trivalent property:

! 37ed2-equable_trivalent.scl
!
Equable heptatonic with trivalence property
7
!
194.59459
356.75676
486.48649
681.08108
843.24324
1037.83784
2/1

This is 6-5-4-6-5-6-5 steps of 37 edo

Tuning Comparison La cathédrale engloutie

Thursday, June 9th, 2016

Catedral_da_Sé_em_São_Paulo

12 edo


12 edt (brief silent period towards end because tuning is so wide)


11 edt (brief silent period towards end because tuning is so wide)


Carlos Super Just


O’Sullivan Blue JI

Link to adaptive Just Intonation brass ensemble version.
Legend of Ys

This piece is based on an ancient Breton myth in which a cathedral, submerged underwater off the coast of the Island of Ys, rises up from the sea on clear mornings when the water is transparent. Sounds can be heard of priests chanting, bells chiming, and the organ playing, from across the sea.[2] Accordingly, Debussy uses certain harmonies to allude to the plot of the legend, in the style of musical symbolism.

To begin the piece, Debussy uses parallel fifths. The first chord of the piece is made up of sonorous Gs and Ds (open fifths). The use of stark, open fifths here allude to the idea of church bells that sound from the distance, across the ocean.[3] The opening measures, marked pianissimo, introduce us to the first series of rising parallel fifth chords, outlining a pentatonic scale. These chords bring to mind two things: 1) the Eastern pentatonic scale, which Debussy heard during a performance of Javanese gamelan music at the 1889 Universal Exhibition in Paris,[4] and 2) medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th-century treatise on music.[5] The shape of the ascending phrase is perhaps a representation of the cathedral’s slow emergence from the water.

After the beginning section, Debussy gently brings the cathedral out of the water by modulating to B major, shaping the melody in a wave-like fashion, and including important narrative instructions in measure 16: Peu à peu sortant de la brume (Emerging from the fog little by little). This shows Debussy at his closest manifestation of musical impressionism.[6] Then, after a section marked Augmentez progressivement (Slowly growing), the cathedral has emerged and the grand organ is heard at a dynamic level of fortissimo (measures 28-41). This is the loudest and most profound part of the piece, and is described in the score as Sonore sans dureté. Following the grand entrance and exit of the organ, the cathedral sinks back down into the ocean (measures 62-66) and the organ is heard once more, but from underwater. To attain these effects that reflect images of the castle, most performers use specific techniques with regards to pedaling and articulation to affect tone color. For example some performers use their full body weight to depress keys to create a rich sound. Also performers create a ringing bell sound by instantly releasing pedaled notes. Finally, the cathedral is gone from sight, and only the bells are heard, at a distant pianissimo.

Piano Exercise in 15 Notes per Octave

Sunday, May 22nd, 2016

piano_in_15


Piano Exercise in 15 Notes per Octave is another attempt to write something playable for a piano student that has modest skills. The score is purposely scordatura because I think that notating in various microtonal accidentals is simply a burden when a person with a 12 equal midi controller and microtonal aware sound source set to 15 notes per octave (like a free Xen-Arts VSTi) can simply play the scare as if it was written for 12 equal but the sound will be in 15 equal and produce the microtonal music of the score. A note on the composition – it is a of a ABACC’ form with held chords as a sort of compositional ‘glue’.

The full score is here. Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet 🙂

Piano Exercise in 17 Notes per Octave

Wednesday, May 18th, 2016

exercisein17

Piano Exercise in 17 Notes per Octave is an attempt to write something playable for a piano student that has modest skills. The score is purposely scordatura because I think that notating in various microtonal accidentals is simply a burden when a person with a 12 equal midi controller and microtonal aware sound source set to 17 notes per octave (like a free Xen-Arts VSTi) can simply play the score as if it was written for 12 equal but the sound will be in 17 equal and produce the microtonal music of the score. A note on the composition – it is a of a nested ABA’B’ form.

The full score is here. Academic performance in a setting where a fee is charged is allowed. Any other commercial use without my permission is not. Please write me for permission in such a case, I haven’t told anyone no as of yet 🙂

Thank you Neil Haverstick for suggesting this project.

Simple Piano Piece in Blue Just Intonation

Monday, April 25th, 2016

027crop Picture by Chris Vaisvil

Simple Piano Piece is a short composition in John O’Sullivan’s Blue JI tuning on my Linnstrument

xenharmonic wiki page for the tuning
Animated score below