Archive for the ‘collaboration’ Category

Tuberculosis in the Boards-Bronchitis in the Drywall – 16edo collaboration

Monday, September 29th, 2014

Chest_labeled

Tuberculosis in the Boards-Bronchitis in the Drywall is a mighty strange title for a very odd piece of music in 16 notes per octave. I would like to thank Cryptic Ruse for providing percussion, odd bits, production and spooky ending fitting the ghosts still wandering around a 19th century sanitarium. I provided piano in response to a call for collaborators by Cryptic.

The Plot of Caiaphas for Chamber Orchestra tuned to “mohajira” in 24edo

Friday, April 18th, 2014

Mattias_Stom,_Christ_before_Caiaphas

Bill made a video with this music as the sound track that gives the composition another spin. View it here.

The Plot of Caiaphas for Chamber Orchestra is a trans-tuned piece of music that is a collaboration with William Newbold who provided the source midi recorded performance I re-tuned and arranged in Mohajira in 24 edo. The instruments used from Garriatan Personal Orchestra are a full flute choir, tuba, bassoon, chromatic harp and harp harmonics, string orchestra and percussion.

! mohajira_24edo.scl
mohajira in 24edo
12
!
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The Log Jam (22 edo rock band)

Thursday, April 3rd, 2014

DSCF1057-512

Below is the new Version 2 based on some input from Frank – its a bit heavier and less vocal centric.

Below is version 1

(it will take a little while for the music to load and play.)

The Log Jam is a collaboration between Frank Miller and myself. Frank composed and performed the drums. The 22 edo guitar from Metatonal Music (Ron Sword) was used for the rest of the music, I did my typically poor job at singing.

Drama in a Cheap Hotel in Room 52

Sunday, March 24th, 2013

300px-BigComboTrailer

Reg Smith and I team up across the Atlantic for a chilled piano / vocal piece in 12 equal. A big thanks to Reg for the lyrics and vocals.

Drama in a Cheap Hotel in Room 52

I’m in room 52
and I honestly don’t know what to do
you’ve taken your love and I feel I’m on borrowed time
my heart is bleeding all over the floor
I don’t think I can take anymore
of this pain
not now you’ve left me in need of your love

its like a scene from a B movie
it’s gone to Black & White
film noir at its best, my heart is breaking
in room 52 , I tell you, I don’t know what to do
I’m breaking up, my mind is in collapse

Remembrance

Saturday, January 19th, 2013

Remembrance is a chilled piece in 22 notes per octave using my DIY refretted $50 used “First Act” electric guitar and DIY fretless bass. Additionally there are my vocals, drums and Kontakt flute.

Poem by Evan Harrington

Words are contained in the film – full quality video

Here is an analysis by Andrew Heathewaite:

  • With the exception of a chromatic passing tone, the guitar part seems to be entirely (although maybe I missed something) in Superpyth[5], that is to say, the 22edo pentatonic scale generated by fifths/fourths. The voice sings these notes and a few major thirds to round things out. I take the first note of the voice melody to be tonic, and the chord progression to be more or less a I-V7-I… kind of thing. It’s not meantone, though, since there are two sizes of whole tone — the four-degree step and the three-degree step. To tell you the truth, the melody as you sing it sounds a little twelvey. That’s understandable if you haven’t sung in 22 a lot, since the large/small whole tone distinction is pretty tricky. It’s similar in 15, but even more exaggerated.

    Taking out the passing tone, your 22edo major scale is 4324432. If you treat it as a meantone major scale, you’ll find that the triads don’t work out the same. You’ve got a regular I chord, but the minor ii chord is actually subminor. A regular minor iii chord, but a supermajor IV chord. A regular major V chord but a vi chord with a subminor third and a wolf fifth! And finally, a decent septimal-flavored diminished vii chord. It’s worth mentioning also that the dominant V7 chord has a strong septimal flavor to it, like a tempered version of a 4:5:6:7 otonal chord. You play the seventh a lot in the guitar part, and I think it works nicely that way.

  • Caged Creation

    Saturday, September 8th, 2012

    Caged Creation is a second excerpt from the performance at the University of Illinois Krannert Art Museum (see previous post for details) – the majority of the music is in 17 edo though there are a variety of tunings employed during the John Cage 100th birthday “Happening”.

    In The Moments

    Friday, September 7th, 2012

    In The Moments audio only

    Barry Morse organized a fantastic multimedia Happening for John Cage’s 100th birthday at the University of Illinois Urbana-Champaign Krannert Art Museum. I took time lapse video and recorded audio from my vantage point. Presented here was a moment when my 17 equal synthesizers, percussion and choir seemed to meld with Barry’s unique DIY plucked instrument, sax and trombone in true Cage-ian aleatoric synchronicity. Thanks Barry for a great event – Barry has more video here http://www.youtube.com/watch?v=wKzfa0neBEs&feature=plcp and here http://www.youtube.com/watch?v=7z0ELKpV3G8&feature=plcp that better represents the entire event.

    Bard – a piece for fretless guitar and fretless bass in quartertones

    Thursday, December 29th, 2011

    Angelos Quetzacoatl composed this piece and then we performed it on video for your enjoyment during a recent visit. Angelos plays fretless guitar and I play fretless bass in 24 edo (quartertones).

    Audio Only

    Blame Not my Lute (a setting of a poem by Sir Thomas Wyatt)

    Wednesday, September 7th, 2011

    This work is a collaboration between Jukka-Pekka Kervinen and myself with the aid of a reading of Sir Thomas Wyatt’s poem “Blame Not my Lute” as read by Basil Bunting in 1977 at the University of Newcastle-upon-Tyne provided by PennSound.

    Blame Not my Lute

    The concept of the piece was to attempt to combine circuit bending with orchestral instrumentation. Jukka provided 2 circuit bent tracks and 3 multilayered midi files in 113 cent, 103 cent and 89 cent tuning when rendered as circuit bent audio. I choose the tuning ( John Chalmer’s Triadic Aggregate-19 see below ) and instrumentation which consists of strings, brass, woodwinds, reeds, percussion, upright fretless jazz bass, and Chinese cymbals. Additionally I added various modulation effects to Jukka’s audio.

    Jukka sends this description of how he created the music: All music, both Sega MP3 and MIDI files are algorithmic compositions based on few probability distibutions controlling a group of parameters. MP3 is made by Sega Genesis which contain Yamaha YM2612 FM-chip. The chip is controlled by a program I’ve written which manipulates directly the sound registers of the chip. MIDI files are generated by a program which produces note and duration events according few constrains and distributions, best expression I’ve heard so far is a term coined by composer/mathematician John Myhill, ‘controlled indeterminacy’.

    And I put together a video with images from www.archive.org and www.wikipedia.org

    John Chalmer’s tuning:
    ! C:\Program Files\Scala22\Triadic Scales\TriadicAggregate-19.scl
    !
    Triadic Aggregate-19 All 52 Harmonic Scales on same tonic
    19
    !
    25/24
    16/15
    10/9
    9/8
    6/5
    5/4
    32/25
    4/3
    25/18
    36/25
    3/2
    25/16
    8/5
    5/3
    16/9
    9/5
    15/8
    48/25
    2/1

    Concert #2 from the Xenharmonic Praxis Summer Camp

    Tuesday, August 30th, 2011

    There were two concerts during the Xenharmonic Praxis Summer Camp at the Gesundheit! Institute in Hillsboro, West Virgina . This is the second of the two and happened August 4th 2011. All of the compositions excepting the piece by Vicentino were written at the camp and all of the camp participant’s music and performances are copyright by the authors and performers, all rights reserved.

    If you want to download the video for posterity – go to this link: http://micro.soonlabel.com/0-praxis/video/August_2011/

    Below is a reproduction of the concert program

    I hope you enjoy the show,

    Chris

    A XENHARMONIC CONCERT ~ August 4, 2011

    Madonna, il poco dolce (31-tone extended meantone)
    Nicola Vicentino (1511-1572)

    Prayer of Thanks (11-limit just intonation spiral)
    Andrew Heathwaite (music), Carey Smith (lyrics)

    Thereminnards (14 equal divisions of the octave)
    Ralph Lewis

    Twang (quartertones)
    Michael A. Garman

    Idana Konya (traditional tuning)
    traditional Bulgarian

    Microscopic Germs (quartertones)
    Dan Sedgwick (music), Ryan Stickney (lyrics)

    One for All (7-limit just intonation)
    Ryan Stickney

    Sagittal Daze (Eighth Octave Overtone)
    Johnny Reinhard

    INTERMISSION

    Immortality (wholetones and semitones)
    Angelos Quetzalcoatl

    Prelude Sonido 13 and Etude No. 1 (quartertones)
    Julián Carrillo

    Tribute to Van Halen (quartertones)
    Angelos Quetzalcoatl

    Ruckus from the Quiet Zone (7-limit just intonation)
    Ralph Lewis

    Five in 5 (7-limit just intonation)
    Denny Genovese

    The World Ignites (11-limit just intonation)
    Andrew Heathwaite (music), Carey Smith (lyrics)

    Land Urchin (11-limit just intonation)
    Jacob A. Barton

    Participants of Xenharmonic Praxis Summer Camp 2011:

    Elizabeth Adams
    Jacob A. Barton
    Douglas Blumeyer
    Joey Di Nardo
    Michael A. Garman
    Denny Genovese
    Marji Gere
    Nick Gideo
    Andrew Heathwaite
    Steven Kandow
    Ralph Lewis
    Angelos Quetzalcoatl
    Johnny Reinhard
    Michael Salvucci
    Dan Sedgwick
    Ryan Stickney
    Toby Twining
    Chris Vaisvil

    Xenharmonic Praxis Summer Camp is presented by Oddmusic International and UnTwelve.

    Special thanks to Roxanne Sawhill, the Gesundheit! Institute and School for Designing a Society.