Archive for the ‘piano’ Category

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

A Short Study in 17 Equal (piano)

Wednesday, March 23rd, 2016

S0162214crop


A Short Study in 17 Equal (piano) performed on a Linnstrument.

Fantasia for Piano Tuned to Carlos Alpha

Monday, March 7th, 2016

2013-02-01_12-17-55crop_rs

Fantasia for Piano Tuned to Carlos Alpha – performed / improvised on a Linnstrument using Pianoteq and Sonar.

The Naked Sun (22 edo piano)

Friday, February 5th, 2016

w920607 Nasa


The Naked Sun is a performed composition in 22 notes per octave realized with the Linnstrument and Pianoteq.

Mt. Herschel (Pseudo 10 edo by keyboard slope)

Tuesday, January 26th, 2016
Photo taken by Andrew Mandemaker., CC BY-SA 2.5, $3

Photo taken by Andrew Mandemaker., CC BY-SA 2.5, $3


Mt. Herschel is an practiced improvisation using pianoteq in 10 edo and my Korg MS2000 in a close to 10 edo tuning by using keyboard slope. Below is the Melodyne output of a short section of the tuning played “chromatically” with a softer timbre.
20160126_kb_slope_9_oclock click to enlarge

There was a preceding experiment using a different keyboard slope tuning – synthesizer only

2 o’clock on Herschel Mountain
kb_slope_2_oclock_Capture click to enlarge

Fading on the Lakefront (10 edo piano and orchestral versions)

Monday, January 11th, 2016

S0229279rs_crop Picture by Chris Vaisvil


Fading on the Lakefront – solo piano in 10 edo on Linnstrument


Fading on the Lakefront – for chamber orchestra – see thumbnail for instruments.
20160111_the_old_man_fades_orchestral_Capture