A Clean Machine – classical guitar re-composed to adaptive Just Intonation with a few “interesting” surprises introduced by Melodyne’s programming.
Archive for the ‘Just Intonation (general)’ Category
September – a collaboration of Christiane Offenbar, Meolog, and myself. All of the audio is derived from Christiane’s singing of Meolog’s poem which is below. The processing created tracks that were based on harmonic series started on 27.5 cents, 41.25 cents, and parallel tracks in a fugue at the octave, minor 3rd, 4th, and 5th.
noch einmal auf
und lichtet sich
mit den bäumen
mit dem wind
Bat Bomb is part of an ongoing series of experiments to try to learn how to make aeolian harp type sounds. In this case I used Uhe’s Brazille with a patch that manipulated the overtone by adjusting the modwheel. Using my Linnstrument in MPE mode I was able to independently adjust the overtone (13 in total per note) by moving my finger in the “Y” dimension (which was routed to the modwheel channel control) and the root note from Carlos “Super JI” tuning by selecting the pad I played. The original patch had a lot of high end to it and are some time listening to it I decided to turn the filters down to try to get closer to a sine wave. Then I experimented with tempo. I find the 60 BPM version the most interesting at the time I am writing this post though there are some interesting peculiarities of each version. And, no, I don’t feel that came close to the aeolian harp, yet I think the experiment has its merit in learning sound design technique and audio result. Of course YMMV. I present the audio in the order I find most interesting. And yes, the bat bomb was real – click the photo to read about it as you listen.
! ji_12.scl ! Basic JI with 7-limit tritone 12 ! 16/15 9/8 6/5 5/4 4/3 7/5 3/2 8/5 5/3 9/5 15/8 2/1
The score is here.
Now Yer Talkin is a short piece for piano. The composition is through composed. The tuning was developed by Doug Blumeyer and he asked for piano piece. This composition uses the comma shifts in the tuning to a fair degree in the right hand part. The tuning is here as a scala file.
Here is a half-time version to bring out the harmonies a bit more.
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.
Click the graphic above or here for the score
The Figment is a short piece for alto flute, oboe, clarinet, bassoon, muted string orchestra and choir. The composition is through composed. The tuning was developed by Doug Blumeyer and he asked that I try composing in it. The tuning is here as a scala file.
Scott Dakota devised a rational detempered version of his Chagall  tuning. Here I present the same string piece in the detempered version for comparision and also a new improvisation on the Linnstrument driving Zeta 2+ in the same tuning.
! Chagall_RationalDetemper_v1_.scl ! (771/256)^(1/3) generator Chagall MOS, rationally represented using only 7:9, 9:11, 11:13. Mirror symmetric, CS, strictly proper. Scott Dakota, Aug 2016. 17 ! 126/121 99/91 143/126 13/11 11/9 14/11 121/91 18/13 13/9 182/121 11/7 18/11 22/13 252/143 182/99 121/63 2/1
I have been archiving past projects and I ran across this fragment of The Rite of Spring (French: Le Sacre du printemps; Russian: «Весна священная», Vesna svyashchennaya, ‘sacred spring’) and decided it would be interesting to render it in adaptive just intonation since that has been a recent topic of interest on the Facebook group Xenharmonic Alliance II. The video is an overlay of the score and the real time adjustments made by the Kontakt included factory script. I selected the factory brass ensemble which in my opinion rendered a nice version of one of my favorite passages of the piece. YMMV of course. You can find the video here for download.
NOTE: Sonar has a a very odd sense of accidentals if you do not explicitly apply a key.
A Single Cloud is an ambient fretless guitar piece in two tracks – the first track laid down was the ebow driven (mostly) drone. Then I improvised an ebow (mostly) melody over that with the intent of sticking to just intervals over the drone. The title and icon come from my feeling of solitude while performing the piece. The fretless guitar was made by defretting a Fender Squier stratocastor copy. You can see me playing the guitar in this video.
A piece composed and performed on my Linnstrument by taking a sample of my electric Aeolian Harp used in Dimension Pro using this Just INtonation tuning
! E:\Cakewalk\scales\7-9-11-13.scl ! 7 9 11 13 13 ! 14/13 13/11 11/9 14/11 9/7 18/13 13/9 14/9 11/7 18/11 22/13 13/7 2/1