Choraled, for string quartet

I approach announcing my new piece here with considerable trepedation,
but have been unable to think of a good alternative. While I welcome a
discussion of the piece itself, I do not welcome or in any way solicit
commentary on my use of soundfonts as a method for producing a
listenable version of what I compose. I suggest people who don't like
my version either listen to the midi file instead, or use it as a
basis for making their own version. I also think remarks about who is
a real musician and who is an amateur should be out of bounds applied
to anyone, and do not welcome them.

Can we PLEASE stick to discussion of my work as a composer, therefore?

Here's my composer page on my website, which has the new piece at the
bottom now:

http://66.98.148.43/~xenharmo/gene.html

ik wouldn't worry about critism, it is that dead silence that is so often imployed that you should worry about.
i look forward to listening to your music.

Gene Ward Smith wrote:

>I approach announcing my new piece here with considerable trepedation,
>but have been unable to think of a good alternative. While I welcome a
>discussion of the piece itself, I do not welcome or in any way solicit
>commentary on my use of soundfonts as a method for producing a
>listenable version of what I compose. I suggest people who don't like
>my version either listen to the midi file instead, or use it as a
>basis for making their own version. I also think remarks about who is
>a real musician and who is an amateur should be out of bounds applied
>to anyone, and do not welcome them.
>
>Can we PLEASE stick to discussion of my work as a composer, therefore?
>
>Here's my composer page on my website, which has the new piece at the
>bottom now:
>
>http://66.98.148.43/~xenharmo/gene.html
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

I like it. Sounds like something Charles Ives would have liked to have written, if he could
just have figured out how to notate it.

Cheers,

Kyle

--- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...> wrote:
>
> I approach announcing my new piece here with considerable trepedation,
> but have been unable to think of a good alternative. While I welcome a
> discussion of the piece itself, I do not welcome or in any way solicit
> commentary on my use of soundfonts as a method for producing a
> listenable version of what I compose. I suggest people who don't like
> my version either listen to the midi file instead, or use it as a
> basis for making their own version. I also think remarks about who is
> a real musician and who is an amateur should be out of bounds applied
> to anyone, and do not welcome them.
>
> Can we PLEASE stick to discussion of my work as a composer, therefore?
>
> Here's my composer page on my website, which has the new piece at the
> bottom now:
>
> http://66.98.148.43/~xenharmo/gene.html
>

--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...>
wrote:
>
> ik wouldn't worry about critism, it is that dead silence that is so
> often imployed that you should worry about.
> i look forward to listening to your music.

Thanks, Kraig, that's a thought.

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...> wrote:
>
> I like it. Sounds like something Charles Ives would have liked to
have written, if he could
> just have figured out how to notate it.

This notation stuff is a killer. If you look at the seq file score for
this, all you see for the notes are values in cents, inside of
parentheses. Of course Johnny Reinhard might be happy with that, as it
converts to his kind of score readily.

Is that lisp? (I love lisp and scheme programming languages).
Nice tune btw. It makes a lot of the 7-limit diamond. I have trouble discerning some large scale structure though. But I only listened twice. On small time scales it is quite enjoyable.

- Magnus

On Wed, 23 Nov 2005, Gene Ward Smith wrote:

> This notation stuff is a killer. If you look at the seq file score for
> this, all you see for the notes are values in cents, inside of
> parentheses. Of course Johnny Reinhard might be happy with that, as it
> converts to his kind of score readily.

--- In MakeMicroMusic@yahoogroups.com, Magnus Jonsson <magnus@s...> wrote:
>
> Is that lisp? (I love lisp and scheme programming languages).

It's Scala, which uses parenthesis around rational numbers as one
means of representing tuning, and parenthesis around floating point
numbers as another. The latter are interpreted as cents.

> Nice tune btw. It makes a lot of the 7-limit diamond.

This is no accident; the scale started life as the minimal hemifamity
scale which was convex and contained the 7-limit diamond, but I
modified that a little.

I have trouble
> discerning some large scale structure though. But I only listened
twice.

Repeated listening would probably bring more out.

> On small time scales it is quite enjoyable.

Thanks!

>I approach announcing my new piece here with considerable trepedation,
>but have been unable to think of a good alternative. While I welcome a
>discussion of the piece itself, I do not welcome or in any way solicit
>commentary on my use of soundfonts as a method for producing a
>listenable version of what I compose. I suggest people who don't like
>my version either listen to the midi file instead, or use it as a
>basis for making their own version. I also think remarks about who is
>a real musician and who is an amateur should be out of bounds applied
>to anyone, and do not welcome them.
>
>Can we PLEASE stick to discussion of my work as a composer, therefore?
>
>Here's my composer page on my website, which has the new piece at the
>bottom now:
>
>http://66.98.148.43/~xenharmo/gene.html

Gene,

Like Magnus, I have a hard time detecting long-range structure
here. The main sonority seems a bit incessant. Nevertheless, I
can hear this working very well against some contrasting movements
in a quartet. And as always, your command of the pitch spectrum
is unequalled (math power!).

-Carl

--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <ekin@l...> wrote:

> Like Magnus, I have a hard time detecting long-range structure
> here. The main sonority seems a bit incessant. Nevertheless, I
> can hear this working very well against some contrasting movements
> in a quartet. And as always, your command of the pitch spectrum
> is unequalled (math power!).

There's a lot to be said for sonata form, which this definately isn't.
If you've gotten to the point of thinking you hear longer range ideas
in Renaissance polyphony, this will probably make more sense.

I heard it more in this vein with moment of motific ideas coming up and then imitated, or at least a feeling that this what was going on.
Kinda brahmsian in its type of preferences for harmony and or spacing, which i found convincing and as something that was heard not pre planned.
I listened to the Ostinato also listed before which i actually liked more as having some very nice full sounding sonorities that seem to only superficially resemble others but held its own in its own region and approach.
the slower moving section the chords beat to much for me , not because i disliked the beating but
one was not aware of how much was going on in the faster part so it almost sounded like it was added in. maybe a section moving between the different speeds would smooth out this transition.
Gene Ward Smith wrote:

>--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <ekin@l...> wrote:
>
> >
>>Like Magnus, I have a hard time detecting long-range structure
>>here. The main sonority seems a bit incessant. Nevertheless, I
>>can hear this working very well against some contrasting movements
>>in a quartet. And as always, your command of the pitch spectrum
>>is unequalled (math power!).
>> >>
>
>There's a lot to be said for sonata form, which this definately isn't.
>If you've gotten to the point of thinking you hear longer range ideas
>in Renaissance polyphony, this will probably make more sense. >
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

>> Like Magnus, I have a hard time detecting long-range structure
>> here. The main sonority seems a bit incessant. Nevertheless, I
>> can hear this working very well against some contrasting movements
>> in a quartet. And as always, your command of the pitch spectrum
>> is unequalled (math power!).
>
>There's a lot to be said for sonata form, which this definately isn't.
>If you've gotten to the point of thinking you hear longer range ideas
>in Renaissance polyphony, this will probably make more sense.

Is it your objective to compose in this form? A lot of your
stuff reminds me of Renaissance polyphony... though this seems
more homophonic, as the title suggests.

The sonata form isn't the only type of long structure, and
structure can be more subtle than anything one can write A-B-C.
Frankly, it sounds like you are using algorithmic techniques
on an underlying chaconne, which is itself vaguely reminiscent
of the Clinton Variations.

-Carl

On Wed, 23 Nov 2005, "Gene Ward Smith" wrote: Choraled, for string quartet
>
> I approach announcing my new piece here with considerable trepedation,

Gene, trepidate not! You're among friends, who value
all your contributions.

> but have been unable to think of a good alternative. While I welcome a
> discussion of the piece itself, I do not welcome or in any way solicit
> commentary on my use of soundfonts as a method for producing a
> listenable version of what I compose. ...

Then I won't say that I like it.

> ... I suggest people who don't like
> my version either listen to the midi file instead, ...

I have listened to both. Using the MIDI file, I get to hear
the kinds of sounds I particularly like.

> ... or use it as a
> basis for making their own version. I also think remarks about who is
> a real musician and who is an amateur should be out of bounds applied
> to anyone, and do not welcome them.

Hear, hear!

> Can we PLEASE stick to discussion of my work as a composer, therefore?

Of course.

You write, on your web page:
'This string quartet movement keeps trying to turn itself into a nice simple
chorale, but keeps being distracted by various confusions and complexities.
The chorale has been choraled. ...'

Yes, it coheres, in a distracted kind of way. The setting for
a psycho-drama, perhaps? The most important thing has to
be how these confusions end - will it be a neat resolution, or
utter chaos? It's a bit of a cliff-hanger ... I thought the
first cadence - a bit after half way through - more convincing
than the final cadence.

and ... ' The piece is in a 26-note scale in the hemifamity, or 5120/5103
planar, 7-limit temperament. While the vibrato obscures hearing it, it is in
the synch tuning, which is a good one for hemifamity.'

What's the scale? (eg in Scala form)

> Here's my composer page on my website, which has the new piece at the
> bottom now:
>
> http://66.98.148.43/~xenharmo/gene.html

I note on the same page your 'Ostinato on a difference set',
a piece in a 13-element difference set in the 7-limit, which
I had wanted to hear when you first posted about it. Now,
with my brandnew broadband connection, I will be able to
(just as soon as I get some free time).

Regards,
Yahya

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--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <ekin@l...> wrote:

> The sonata form isn't the only type of long structure, and
> structure can be more subtle than anything one can write A-B-C.
> Frankly, it sounds like you are using algorithmic techniques
> on an underlying chaconne, which is itself vaguely reminiscent
> of the Clinton Variations.

The Clinton variations was quite algorithmic. This was more a matter
of trying to copy late Renaissance models, which tended towards more
homophony.

--- In MakeMicroMusic@yahoogroups.com, "Yahya Abdal-Aziz" <yahya@m...>
wrote:

> Then I won't say that I like it.

Clever move. :)

> and ... ' The piece is in a 26-note scale in the hemifamity, or
5120/5103
> planar, 7-limit temperament. While the vibrato obscures hearing it,
it is in
> the synch tuning, which is a good one for hemifamity.'
>
> What's the scale? (eg in Scala form)

Here it is:

! choraled_scale.scl
Scale used in "choraled" by Gene Ward Smith
26
!
70.870134
85.285706
95.735073
181.020779
205.885718
266.306484
301.620791
386.906496
411.771435
472.192202
497.057141
567.927275
592.792214
617.657153
653.212981
678.077920
702.942859
798.677932
883.963637
908.828577
969.249343
1089.849355
1114.714294
1150.270122
1175.135061
1200.000000

--- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith" <gwsmith@s...>
wrote:

> This is no accident; the scale started life as the minimal hemifamity
> scale which was convex and contained the 7-limit diamond, but I
> modified that a little.

Hemifamity? Never heard of that one, and what an odd-sounding name!
Could you fill us in on one of the other lists?

I'll be in NY this weekend and try to catch up on listening to music by
you, Kyle Gann, and the rest . . .

On Thu, 24 Nov 2005, Gene Ward Smith wrote:

> --- In MakeMicroMusic@yahoogroups.com,
> "Yahya Abdal-Aziz" <yahya@m...> wrote:
>
> > Then I won't say that I like it.
>
> Clever move. :)

Sorry, Gene, can't help myself ... am listening to it
again now, and I MUST say I definitely prefer the
mp3 with your soundfonts to the MIDI file with
the default tone variations of the soundchip in my
Roland keyboard.

Not so clever of me, I know. But the point I want
to make is that much of your musicality comes
through in your crafted sound, that the MIDI
performance lacks.

Thanks again for the pleasure of listening to this!
Please do keep writing and sharing your music.

Regards,
Yahya

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