Hockets and InHarmonics

Hi Jacky and Jon

After repeated tries I was able to download both of your pieces this
am. Both your pieces brought a smile to this face.

Jon a drummer friend of mine who can do complex polyrythms says that
it brings about a real left brain/right brain integration for him
when he gets it going. Is that your experience?

Jacky I don't quite get how you are using latin squares for pitch
changes. I only count 6 pitches in the scale you give, and if I
understand the concept correctly you need 14. Are you using two
octaves ?

Also having listened to the piece before I read your words I was more
focused on the rythm, and I thought that was what was being rotated.

Anyway thanks to both of you for this Sunday Morning MicroMarch
around the Brunch Table.

Mary

Mary,

{you wrote...}
>Jon a drummer friend of mine who can do complex polyrythms says that it >brings about a real left brain/right brain integration for him when he >gets it going. Is that your experience?

To try and answer honestly, if I am working on a truly complex poly it always starts out analytical, and through repetition becomes assimilated until it feels 'natural'. If that is a "yes" to your question, so be it! I dream of being able to perform like Terry Bozzio: he was the leader/percussionist of an 80's band "Missing Persons", and played with Zappa; he is well-known to 'drummers' as being from another planet, but the main thing is that he is a musician far above his drumming orientation.

His main thrust for the last decade or so has been to expand the abilities of a solo percussionist, and behind an enormous setup he plays pieces and improvisations that are -- pretty much -- beyond belief. He has worked on ostinatti (sp?) in any quadrant of the body, and then can solo with any combination of other limbs. i.e. he can keep a complex pattern 'looping' with his feet, and then solo independently (and I *mean* totally free independence) above that; or loop with right hand and solo with the other 3 limbs.

It is complex, it is natural-sounding, and it is something I haven't seen anyone else be able to do even remotely close to what he can. Beyond music, it is really a great example of what the human brain/body can aspire to!

Me? I just end up having "out-of-brain" experiences, very similar to "out-of-gas"!

Cheers,
Jon

What's up with you Mary - what are you working on these days???

Hi Jacky

I've been mucking around in involuntary 12TET for the last several
weeks. I've had a maddening problem with GigaStudio where some, but
not all tunes I use it for end up in 12TET. While the inconsistency
has sharpened my listening skills,and brought a new appreciation for
12TET it has also dampened my ouput.

I think I have finally traced the problem. An obscure window limits
the amount of pitchbend that can be applied to any sample. Normal
samples of thintgs like cellos had their pitchbend squelched,
resulting in 12TET, while gongs had 2 semitones available, giving me
the tuning I wanted.

Phew. I can return now to making music.

Mary