Bela Bartok’s composition Mikrokosmos #153 trans-tuned to 26 edo and arranged for Chamber Ensemble – flute, marimba, french horns, cellos. Photo by Chris Vaisvil
Archive for the ‘trans-tuned’ Category
Using the first movement of Debussy’s string quartet I trans-tuned from 12 to 26 notes per octave and further developed the derivative by transposition and tempo adjustment. The result, to my ears, is much more early 21th century than late 19th century string quartet.
By Jessie Eastland – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=22864094
Claire de Lune in Wilson’s Golden Horagram number1 tuning using u-he‘s Diva I think shows some of the amazing attributes of Wilson’s tuning systems. Throwing an arbitrary 7 note tuning and coming up with (for a microtonalist) very listenable result is impressive. I hope you enjoy this transtuned rendition as music as I have. The tuning is below.
! wilson_gh1.scl ! Golden Horagram nr.1: 1phi+0 / 7phi+1 7 ! 157.52096 315.04191 472.56287 727.43713 884.95809 1042.47904 2/1
Best viewed at the highest resolution available. The native video is in 1080p
By using Celemony’s Melodyne Editor I rearrange the notes within a droning sample from my DIY electric aeolian harp. The tuning is nominally Bohlen-Pierce (stock with Melodyne) but the nature of the aeolian harp means additional pitches are present.
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What follows are three versions of the same piece radically changed by the tuning applied to the simulated chamber ensemble of alto flute, clarinet, oboe, english horn, solo violin, solo viola, and (solo cello + solo contrabass doubling). The piece is driven by midi extracted from Red Sands Maunsell Forts by Celemony Melodyne.
! E:\Cakewalk\scales\guqin.scl ! guqin tuning 13 ! 1/8 1/6 1/5 1/4 1/3 2/5 1/2 3/5 2/3 3/4 4/5 5/6 7/8
37 edo Aeolian Harp Prelude is a piece composed by modifying with Melodyne a electric aeolian harp drone chord played by the wind. The approximate original tuning was re-tuned to 37 edo from an imported a scala file I made and then the piece composed by adjusting the individual notes.
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. 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. 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, and 2) medieval chant music, similar to the organa in parallel fifths from the Musica enchiriadis, a 9th-century treatise on music. 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. 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.
It Could be Dinner on the Moon is an ambient looper piece performed on a Seagull acoustic guitar with additional effects.
Thanks to the wonders of melodyne single track here is the same piece transtuned to Bohlen-Pierce tuning – a non-octave tuning that has 13 notes within the space of an octave + fifth. I think it sounds cool.
! C:\Program Files (x86)\Scala22\12th root of phi.scl
12th root of phi tuning
Same exercise with 65 cent steps instead of 100 cent steps.