Archive for the ‘trans-tuned’ Category

Mikrokosmos #153 in 26 edo for Chamber Ensemble

Saturday, March 25th, 2017



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

Re-composition in 26 edo of Debussy’s String Quartet, Movement 1

Monday, March 13th, 2017

Picture by Chris Vaisvil


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.

Claire de Lune in Wilson’s Golden Horagram nr.1 tuning

Saturday, March 11th, 2017

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

Recomposition Using Celemony’s Melodyne Editor

Sunday, January 15th, 2017


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.
Download Audio or Video

Ethylene Signal Transduction

Friday, August 5th, 2016

512px-Ethylene_Signal_Transduction.svg

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.

11 limit hobbit scala file

12th root of phi scala file

Guqin scala file and shown below – it did some unusual things to Garritan Personal Orchestra 5

! 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

Thursday, June 23rd, 2016

aeolian37Capture Click to enlarge the Melodyne “score” in 37 edo

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.

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.

Three Pieces Derived From a Bowed Metal Plate

Friday, October 24th, 2014

IMG_5233 Metal plate used to perform seen in vise and clamped to workbench.


They Ripped my Metal Heart Apart is a composition for bowed metal plate. The plate was held in a vise that was clamped to a work bench and three recordings were made each with a different clamping point of the plate. The sound was recorded via piezo pickup on bench and microphone in room. Post processing consisted of delay, reverb and panning with slight compression of the master.


The Space Between the Atoms for bowed gamelan in harmonic series / subharmonic series tuning using pitches derived from the original metal plate performance. Sonar X3 was used to extract the pitches and convert them to midi. The extracted pitches were transposed down by an octave. Significant “JI Growl” occurs through out the piece.


A Strange Orchestra is a trans-tuned 6 edo version of the original metal plate performance using melodyne single track to process the recording. At about 3 minutes in the sound becomes (to my ears) orchestral and far removed from the harshness of the original bowed metal plate performance.

It Could be Dinner on the Moon

Friday, October 3rd, 2014

S0474427crop

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.

Scriabin Poeme Nocturne in12 root of phi tuning (Animated Score)

Sunday, August 10th, 2014

download full video quality

! C:\Program Files (x86)\Scala22\12th root of phi.scl
!
12th root of phi tuning
12
!
69.42419
138.84838
208.27257
277.69677
347.12096
416.54515
485.96934
555.39353
624.81772
694.24191
763.66610
833.09030

Same exercise with 65 cent steps instead of 100 cent steps.

download full quality video