Archive for the ‘11 edt’ Category

Tuning Comparison La cathédrale engloutie

Thursday, June 9th, 2016


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.

Its a Wreck (but its mine) 106 edo

Thursday, January 14th, 2016

S0909961re Photo by Chris Vaisvil

Its a Wreck (but its mine) is an electronic composition in 106 edo using layers of Absynth 5 by Native Instruments and played on a Linnstrument, recorded in Sonar.

Tragically Flawed (11 equal of the Tritave – nonoctave)

Friday, October 23rd, 2015

IMG_9194crop alas my windshield after a close encounter with either a branch or an extremely large wasp judging by the yellow.

Tragically Flawed is my impression of what I did here (and my windshield). I had some remote thoughts of using this to answer Sean’s call for microtonal with a beat works but realizing this has some seriously bad timing issues and I don’t have the time to to invest to fix said flaws it tragically has to sit out of the compilation… 11 equal of the Tritave (11 edt) is a rather cool nonoctave tuning that I think deserves more attention. Another piece in this tuning, Molly’s Playground, shows that this tuning has some versatility.

Tuning in scala format is as follows:

! E:\cakewalk\scales\11_of_tritave.scl
11 in tritave

Debussy Pour Le Piano, 1. Prelude in 11 EDT and 12 of 22 EDO tuning

Sunday, October 14th, 2012

Pour Le Piano, 1. Prelude by Debussy rendered in 11 notes per tritave (per 12th aka octave plus fifth) tuning. In some places the result is kind of muddy but in other places the trans-tuned version is surprisingly coherent and other worldly. Also I rendered a version using a 12 note hexachordal subset of 22 EDO (equal division of the octave). For those wanting to compare to the original I found this great rendition on youtube with harmonic analysis. Note: trans-tuning is a bit of an iffy prospect and requires overlooking the chaff for the wheat since after all, the original was written with a different tuning in mind.

Ode to the Internet Underground Music Archive

Thursday, February 9th, 2012

Back in the dark ages of the 90’s there was a cool site devoted to indie bands and artists call the Internet Underground Music Archive. It was a great site which hosted some very unusual music. Unfortunately the site eventually went the way of the so many cool 90’s sites atrophied and then disappeared altogether. The piece was originally improvised in 12 equal using a Roland GR-20 driving guitar, string, synth bass, and percussion. Later I adapted it to other tunings – and these appear in order of production. The 11 edt version is played at double time for variety.

Ode to the Internet Underground Music Archive 12 edo

Ode to the Internet Underground Music Archive 7 edo

Ode to the Internet Underground Music Archive 11 edt

Sphere From the Namibian Sky

Friday, December 23rd, 2011

Sphere From the Namibian Sky is an electronic tending towards ambient piece using 11 note per tritave (3/1 aka octave+fifth) for synthesizers and modified percussion.