Archive for the ‘12 edo’ Category

For an Imaginary Solo String Ensemble

Sunday, March 26th, 2017


For an Imaginary Solo String Ensemble
Photo by Chris Vaisvil

King Island [Alaska] (ambient bass)

Tuesday, December 20th, 2016

King Island (Bering Sea, Alaska, USA; 64°58‘9’N, 168°3‘56‘‘W)

Ambient 6 string bass and Guitar Rig 5

Tobruk

Saturday, August 6th, 2016

Tobruk_trenches

Tobruk – a short solo piece using the iOS app Geoshred

Four Pieces for Semi-hollow body Epiphone Electric Guitar in 12 Equal

Friday, June 10th, 2016

IMG_1651 Cat is for scale, picture by Chris Vaisvil

I would like to thank my friend Larry for the loan of the guitar. I always wanted to know a semi-hollow was good for feedback. I can answer with an emphatic yes.

For Harp and Ambient Guitar – feedback and Melodyne audio to midi conversion driving the harp

For Two Electric Guitars (ebow and pick)

For Glitched Electric Guitar – using izotope and dblue glitch driven by a Melodyne audio to midi conversion

For Au Natural Electric Guitar – for Sound-In.org

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.

Moss

Thursday, May 26th, 2016

007crop Picture by Chris Vaisvil

Moss – using Equator for Rise.

Why This Way?

Thursday, May 12th, 2016

this_way_crop045 Photo by Chris Vaisvil


Why This Way? is a multitrack Linnstrument performed composition with added vocals.

Clipperton Island

Sunday, May 8th, 2016

Clippertonisland

Clipperton Island is a vacation trip to an island of 12 equal.

Various For Improv Friday

Saturday, May 7th, 2016

S0104132crop Picture by Chris Vaisvil


14 edo Substation


For 25 note midi controller in harmonic series tuning


Your Title Here 12 edo


Inductive Current (11-Limit JI)

Loosely Controlled Variations

Monday, April 18th, 2016

S0413364crop Picture by Chris Vaisvil


Loosely Controlled Variations is a short piece created by using scalegen to create a file for 17 edo tuning for Gestrument and then performing on the Gestrument a mix of 17 edo with just a little 12 edo.

Melodyne pitch set analysis of this piece

Melodyne scale analysis of this piece