Yahoo Tuning Groups Ultimate Backup makemicromusic MMM Day 2006 playlist

Here's a playlist I made from the MMM Day contributions I
got (plus my own; see my previous post)...

http://lumma.org/music/MMMDay2006.zip

It's 36 megs. The files are mp3 -- in most cases just
what the author gave me (I converted Jon's file from
FLAC to WAV and then to mp3) except normalized, retagged,
and renamed.

I collected all the posts about the pieces, and pasted
them together into liner notes (copied below; also in the
zip file).

The quality of pieces here is really high.

The mixed version should be done uploading by the time I
wake up!

Cheers,
-Carl

MMM Day 2006 liner notes!!

------------------------------------------------------------------------
1 - Dave Seidel - Sunday Afternoon

"Sunday Afternoon" is a piece of (gasp) tonal chamber music. I put this
one out a few days ago as a MIDI retuning/rendering challenge here and
on the Tuning list. This version is from JL Smith.

------------------------------------------------------------------------
2 - Herman Miller - Lemba Galatsia

Lemba Galatsia is the latest result of my explorations into lemba
temperament (named after a fictional island). Lemba was one of many
7-limit temperaments included in a long list that Gene Ward Smith
detailed on the tuning-math list. At the time I referred to it simply
as "Number 82". I'd been looking around for useful temperaments that
may have been overlooked, and this one immediately attracted my
attention. It has a useful 10-note basic scale, and two identical
periods in the octave (it repeats at the tritone). Since 50/49 is
tempered out, the tritone can represent either 7/5 or 10/7.

A while back I noticed that lemba temperament actually has a pretty good
whole-tone scale. It has three different sizes of thirds, but two of
them are close to the same size (around the size of 14/11); the other
third is flatter than 5/4. So it occurred to me to try retuning
Galatsia, which I wrote back in 1979, since it uses the whole tone scale
in a couple of places. I tried to keep more or less the original
melody, but I've changed the harmony in some places to show off some of
the harmonic possibilities of the 7-limit harmony approximations in
lemba temperament.

I used mainly the EDIROL VSC for this new version, with the NI Absynth 3
for the brass and some of the accompaniment parts.

------------------------------------------------------------------------
3 - Bill Sethares - MysteryX

The piece MysteryX was sequenced using a drum controller (Roland
handsonic) for percussion and a wind controller (Yamaha WX) for
everything else. All the sounds are from the "VSL Kontakt Orchestra",
though with the timbres mapped to match the tuning, which was done by
Little Miss Scale Oven. The "X" stands for 10-tet.

------------------------------------------------------------------------
4 - Jacob Barton - Seventeen Pno

Two grand pianos, at right angle (sharps on the left blacks, flats on
the right); one man, in wrong mood; five minutes glean'd from
fourty-one; a faulty mini-disc, or microphone, leading to poor quality.

------------------------------------------------------------------------
5 - Jon Lyle Smith - Quincunx

The original working title of this piece was, "THE MARTYRDOM OF SAINT
HAROLD: Being the musical Depiction of Harold of Partch, the Blessed
Patron Saint of Just Intonation; and his Martyrdom by upon a burning
Pyre of his collected Works -- by an evil Cult of Tempered Theorists,
led by his Nemesis, the unspeakable Professor Moriarty, a
Mathematician".

After due consideration however, I opted for this title.

------------------------------------------------------------------------
6 - Graham Breed - MMMDay piece

I used Csound with existing instruments. It uses an ssssL pentatonic
scale with different tunings.

------------------------------------------------------------------------
7 - Jon Szanto - Do Something

How could I pass by a day in honor of the music of the very list I
helped start??? It would be churlish and desultory, and what better
reason to stay up until 4:30 in the morning?

When I've had the rare time to sit down and play, I've been living
inside of one of Al-Farabi's scales, the Greek genus chromaticum forte.
But I decided to fill out 12 notes, and utilized Kyle Gann's chart to
find likely candidates for an interesting - and decidedly non-ET -
grouping of pitches.

------------------------------------------------------------------------
8 - Yahya Abdal-Aziz - Bunga Seroja

I have the pleasure to announce a tiny submission, my arrangement of a
traditional Malay tune, performed by Jon L. Smith.

------------------------------------------------------------------------
9/10 - Carl Lumma - Sunny Shores

Sunny Shores is a 2-part piece I wrote on manuscript in 1997. It was
originally conceived in 12-tET. I used the following method to perform
it microtonally...

Music was entered into Encore (www.gvox.com) with a mouse and saved as
MIDI. The resulting file for part 2 was then "humanized" slightly with
Gunter Nagler's free MIDIHUM tool, to make chord attacks less annoying.
Both performances can still safely be described as lifeless.

Scala was used to retune (with pitch bends) the files in about two dozen
different 12-note scales from my scale library, with the help of a batch
file in Windows XP. I also retuned part 2 in a number of ways with
John deLaubenfels' BGE adaptive retuning program (www.adaptune.com).
The results were auditioned in Winamp.

John's 7-limit adaptive tuning sounded best for part 2, but the MIDI
file had some pitch-bendy glitches (in Winamp, anyway), so I decided
against it. And none of the fixed scales I tried really worked, so I
made one up based on what I'd heard, and by looking at the score. I
used meantone as a backbone -- turned out it was possible to bring the
septimal intervals up front without having the wolf occur at all.

!
Empirically-derived scale for "Sunny Shores part 2", Carl Lumma, 2006.
12
!
79.
194.
273.
388.
503.
551.
697.
791.
891.
970.
1085.
1200.
!
! 697-cent meantone (Bb-F wolf) with 11/8 and 30/19.

Part 1 is tuned in the 12-tone MOS of the 7-limit TOP augmented
temperament.

The music was rendered to CD-quality WAV with Audio Compositor and
Philippe Guillaume's version of Trachtman's 'Steinway C' soundfont.

------------------------------------------------------------------------
11 - Rick McGowan - Five minute symphony in 15-tet

This here is a "Five Minute Symphony in 15-tet" consisting of 3 short
movements. It is realized with Garritan Personal Orchestra with
microtuning courtesy of Fractal Tune Smithy. Of course the tuning is
15-tone equal. It's scored for a small orchestra consisting of winds
and brass in ones, piano, and strings.

------------------------------------------------------------------------
------------------------------------------------------------------------

🔗Carl Lumma <ekin@...>

🔗hstraub64 <hstraub64@...>

--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <ekin@...> wrote:
>
> >The mixed version should be done uploading by the time
> >I wake up!
>
> We're in luck, I'm still up.
>
> http://lumma.org/music/MMMDayMixup.mp3
>
> It's 44 megs. I think it came out rather nicely.
>

This MMM day is a great thing! I have started to send links to Prent's
podcasts around, and there was already some positive feedback!

One asked me whether it would be possible to have separate links to
each piece. WOuld that be in accrodance to the idea of the MMM day?

BTW, I mailed a contribution of mine to Prent. If you want to put it
on your list as well, here are the data.

Music:
http://homepage.hispeed.ch/hsstraub/musik/asimchomsaia.mp3 (128 kbps,
2.44 MB)
http://homepage.hispeed.ch/hsstraub/musik/asimchomsaia.ogg (high
quality, 4.7 MB)

Title:
Asimchomsaia. (Pronounciation does not matter - it's an invented word,
supposed to be the name of some fictious place, in Indonesia or
somewhere).

Explanation:

It uses a 5-EDO scale, i.e. one octave is split into five equal parts.
Besides, the meter is 5/8. As result, there is a far-going symmetry
between time and pitch component, which gives me a number of slightly
crazy mathematical possibilities to vary motifs, such as arbitrary
two-dimensional transformations applied in the way that classical
composers use inversions and retrogrades.
--
Hans Straub

🔗Gene Ward Smith <genewardsmith@...>

🔗Carl Lumma <ekin@...>

>>> The mixed version should be done uploading by the time
>>> I wake up!
>>
>> We're in luck, I'm still up.
>>
>> http://lumma.org/music/MMMDayMixup.mp3
>>
>> It's 44 megs. I think it came out rather nicely.
>
>This MMM day is a great thing! I have started to send links to Prent's
>podcasts around, and there was already some positive feedback!
>
>One asked me whether it would be possible to have separate links to
>each piece. WOuld that be in accrodance to the idea of the MMM day?

The pieces can be had as individual files at

http://lumma.org/music/MMMDay2006.zip

As for downloading just one file at a time, most of the authors
posted links to their files here at some point.

>BTW, I mailed a contribution of mine to Prent. If you want to put
>it on your list as well, here are the data.

I'd love to, I hate to say no, especially since I was late with my
piece, but I'm in the middle of moving house and I can't spend any
more time on this project now... I won't just tack on your piece.
To be fair and artistic, I'd have to find where it belongs in the
playlist, put it in, normalize it, and resave and reupload to my
server. Since the single file is so large, it takes forever to
edit/save it (in Adobe Audition, at least) and upload the file to
my server (over my asymetrical DSL line).

However, I encourage you or anyone else to take the mix and add
stuff to it! Consider it GPL.

Also, Jacob suggested regular MMM Days.

>Music:
> http://homepage.hispeed.ch/hsstraub/musik/asimchomsaia.ogg

Wow, I really like this. The fidelity (dynamic range) is
really incredible, as is the variety/juxtaposition of timbres.
And of course, I'm a sucker for 5-beat meter.

>Title:
>Asimchomsaia. (Pronounciation does not matter

I love it!

>Explanation:
>
>It uses a 5-EDO scale, i.e. one octave is split into five equal parts.
>Besides, the meter is 5/8. As result, there is a far-going symmetry
>between time and pitch component, which gives me a number of slightly
>crazy mathematical possibilities to vary motifs, such as arbitrary
>two-dimensional transformations applied in the way that classical
>composers use inversions and retrogrades.

And this after Jon just said 5 equal couldn't be used to make
interesting music! I must say, since he's a percussionist, I
was a bit confused by that comment.

-Carl

🔗Carl Lumma <ekin@...>

🔗Jon Szanto <jszanto@...>

Carl,

I know you are busy moving and all, but...

{you wrote...}
>And this after Jon just said 5 equal couldn't be used to make interesting music!

I hate it when someone misrepresents me. I didn't say *couldn't*:

"How possible is it to write interesting music in 3/4/5 tet? Give yourself a test: write a melodic line - no accompanying parts whatsoever - in one of those, and see if you can come up with something that is memorable or compelling listening-wise."

"I could very well be missing the boat on this one. If you know of examples of 3/4/5 that can bear extended and repeated listenings, I'd be curious. Whenever I've messed around with 5, it's lack of a personality makes for rather directionless music. It is quite safe, as everything sounds 'ok', but unless the object is to just float for long periods of time, I'm not getting it."

Beyond the fact that I didn't say one simply could not create interesting music in 5eq, one has to also note that the context of this was Gene speaking about his methodology for generating melodies and then fleshing out compositions with that raw material. Note that my basic question was of the nature "I haven't been convinced, and that maybe I'm missing something." So if anything, it was that *I* hadn't groked the unique musical qualities of 5.

So, Carl, you stand corrected. Now that 3eq Pavanne of Herman's... :)

>I must say, since he's a percussionist, I was a bit confused by that comment.

Don't be.

Good luck with the move. As they say, "*Now* we're cooking with gas!"

Cheers,
Jon