Yahoo Tuning Groups Ultimate Backup makemicromusic text based tuning piece

I rarely write a piece in this form but since i did and i have can't remember seen one like it on any of these list,I. thought i would break the ice.
The piece is named after a composer Adam Overton who uses bodily rhythms as a determining factor in his performances.

I seem to keep tinkering with it bit , but this is so close to its final form it seemed okto post

GENDHING OVERTON-META SLENDRO TUNING)

For as many players in as large of area possible within sounding distance. Players are free to move to explore interaction. Outside somewhat reverberant spaces preferred.

This notes in this tuning* fall into groups of 2 and three note concentration of pitches that cause beating. Pitch is to be as precise as possible. Each of these groups will now be considered a living tone.

When asked to perform a tone, one or all of the elements (notes) can be emphasized or not, simultaneously or in succession, and the player is free to move from one state to another. There are two factors informing that act upon what one plays
1) To hold onto a state until one has absorbed it
2) That nothing, much less the living is still in the universe. The interaction with others will commonly produce movement in ones tone, making individual movement unnecessary

Each player chooses one tone at a time according to what they feel most intuitive drawn, or hear. The latter possibly increasing as the piece progresses. One should not choose tones ï¿½randomlyï¿½ in a mechanical robotic fashion but retain oneï¿½s natural imagination.

Duration also is informed by a number of factors that pull in different directions.
1) The duration of a tone is between 3-7 breaths. Resting between 2-5 breaths. Once experienced one should dispel with counting, thinking of the duration and rest of a tone as a single breath which one repeats
2) One should not feel compelled to impose in an ongoing interaction nor feel required to stop one. The ear is to have a priority over these instructions being informed by uniqueness that presents itself.

The duration of the overall piece is likewise informed by a number of factors
1) This can vary from what feels like a few hundred breaths as in 223 or 418, to maybe 1,556.
2) One should not feel compelled to stop or continue beyond what the unique factors of the performance dictate. While often this will be dictated by clock restrictions from the outside, this should be considered unfortunate but sometime inevitable

*The original set of pitches being the 12-tone version of Wilsonï¿½s Meta Slendro as generated by Mt Meru. Spanning the harmonics 7-200. (7, 9, 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only use a different seeding of this recurrent sequence (Subharmonic versions are also an exciting possibility) but one could take it up to other cyclic points, such as 17,22, and 27 pitches. Adding pitches would involve more notes being incorporated into each tone. Other recurrent sequences possible. These alternatives are best only after some experience with the composition. Beyond this point care should be taken not to add so many pitches that the distance between one tone and another becomes ambiguous.
KRAIG GRADY 7/17/006

--
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

🔗Dave Seidel <dave@...>

Cool, Kraig!

- Dave

Kraig Grady wrote:
> I rarely write a piece in this form but since i did and i have can't > remember seen one like it on any of these list,I. thought i would break > the ice.
> The piece is named after a composer Adam Overton who uses bodily rhythms > as a determining factor in his performances.
> > I seem to keep tinkering with it bit , but this is so close to its final > form it seemed okto post
> > GENDHING OVERTON-META SLENDRO TUNING)
> > For as many players in as large of area possible within sounding > distance. Players are free to move to explore interaction. Outside > somewhat reverberant spaces preferred.
> > This notes in this tuning* fall into groups of 2 and three note > concentration of pitches that cause beating. Pitch is to be as precise > as possible. Each of these groups will now be considered a living tone.
> > When asked to perform a tone, one or all of the elements (notes) can be > emphasized or not, simultaneously or in succession, and the player is > free to move from one state to another. There are two factors informing > that act upon what one plays
> 1) To hold onto a state until one has absorbed it
> 2) That nothing, much less the living is still in the universe. The > interaction with others will commonly produce movement in ones tone, > making individual movement unnecessary
> > Each player chooses one tone at a time according to what they feel most > intuitive drawn, or hear. The latter possibly increasing as the piece > progresses. One should not choose tones ï¿½randomlyï¿½ in a mechanical > robotic fashion but retain oneï¿½s natural imagination.
> > Duration also is informed by a number of factors that pull in different > directions.
> 1) The duration of a tone is between 3-7 breaths. Resting between 2-5 > breaths. Once experienced one should dispel with counting, thinking of > the duration and rest of a tone as a single breath which one repeats
> 2) One should not feel compelled to impose in an ongoing interaction nor > feel required to stop one. The ear is to have a priority over these > instructions being informed by uniqueness that presents itself.
> > The duration of the overall piece is likewise informed by a number of > factors
> 1) This can vary from what feels like a few hundred breaths as in 223 or > 418, to maybe 1,556.
> 2) One should not feel compelled to stop or continue beyond what the > unique factors of the performance dictate. While often this will be > dictated by clock restrictions from the outside, this should be > considered unfortunate but sometime inevitable
> > *The original set of pitches being the 12-tone version of Wilsonï¿½s Meta > Slendro as generated by Mt Meru. Spanning the harmonics 7-200. (7, 9, > 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only use a > different seeding of this recurrent sequence (Subharmonic versions are > also an exciting possibility) but one could take it up to other cyclic > points, such as 17,22, and 27 pitches. Adding pitches would involve more > notes being incorporated into each tone. Other recurrent sequences > possible. These alternatives are best only after some experience with > the composition. Beyond this point care should be taken not to add so > many pitches that the distance between one tone and another becomes > ambiguous.
> KRAIG GRADY 7/17/006
> > >

🔗Rozencrantz the Sane <rozencrantz@...>

I had to read your third paragraph a few times, and I'm not sure I
fully understand it. What do you mean by "hold onto a state" and
"absorbed"? Otherwise I think your instructions are clear enough to
perform, though the instruments this would require might make "as many
as possible" a pretty small number.

I used to write a lot of music like this, though not as much anymore.
The main reason I stopped was because "unspecified performers" didn't
give me as much controll over intonation as I like. You've come up
with an interesting solution, though I'm not sure how easy it would be
to get not only a group willing to play this kind of music, but a
group of performers willing to play this kind of music with excellent
intonation in very high limits.

> > GENDHING OVERTON-META SLENDRO TUNING)
> >
> > For as many players in as large of area possible within sounding
> > distance. Players are free to move to explore interaction. Outside
> > somewhat reverberant spaces preferred.
> >
> > This notes in this tuning* fall into groups of 2 and three note
> > concentration of pitches that cause beating. Pitch is to be as precise
> > as possible. Each of these groups will now be considered a living tone.
> >
> > When asked to perform a tone, one or all of the elements (notes) can be
> > emphasized or not, simultaneously or in succession, and the player is
> > free to move from one state to another. There are two factors informing
> > that act upon what one plays
> > 1) To hold onto a state until one has absorbed it
> > 2) That nothing, much less the living is still in the universe. The
> > interaction with others will commonly produce movement in ones tone,
> > making individual movement unnecessary
> >
> > Each player chooses one tone at a time according to what they feel most
> > intuitive drawn, or hear. The latter possibly increasing as the piece
> > progresses. One should not choose tones "randomly" in a mechanical
> > robotic fashion but retain one's natural imagination.
> >
> > Duration also is informed by a number of factors that pull in different
> > directions.
> > 1) The duration of a tone is between 3-7 breaths. Resting between 2-5
> > breaths. Once experienced one should dispel with counting, thinking of
> > the duration and rest of a tone as a single breath which one repeats
> > 2) One should not feel compelled to impose in an ongoing interaction nor
> > feel required to stop one. The ear is to have a priority over these
> > instructions being informed by uniqueness that presents itself.
> >
> > The duration of the overall piece is likewise informed by a number of
> > factors
> > 1) This can vary from what feels like a few hundred breaths as in 223 or
> > 418, to maybe 1,556.
> > 2) One should not feel compelled to stop or continue beyond what the
> > unique factors of the performance dictate. While often this will be
> > dictated by clock restrictions from the outside, this should be
> > considered unfortunate but sometime inevitable
> >
> > *The original set of pitches being the 12-tone version of Wilson's Meta
> > Slendro as generated by Mt Meru. Spanning the harmonics 7-200. (7, 9,
> > 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only use a
> > different seeding of this recurrent sequence (Subharmonic versions are
> > also an exciting possibility) but one could take it up to other cyclic
> > points, such as 17,22, and 27 pitches. Adding pitches would involve more
> > notes being incorporated into each tone. Other recurrent sequences
> > possible. These alternatives are best only after some experience with
> > the composition. Beyond this point care should be taken not to add so
> > many pitches that the distance between one tone and another becomes
> > ambiguous.
> > KRAIG GRADY 7/17/006

--TRISTAN
(http://dreamingofeden.smackjeeves.com/)

🔗Aaron Krister Johnson <aaron@...>

This sounds really cool, Kraig, and reminds me of some improvised vocal
circles my sister-in-law has done. I think she would get into this concept.

-Aaron.

On Saturday 15 July 2006 5:21 pm, Kraig Grady wrote:
> I rarely write a piece in this form but since i did and i have can't
> remember seen one like it on any of these list,I. thought i would break
> the ice.
> The piece is named after a composer Adam Overton who uses bodily rhythms
> as a determining factor in his performances.
>
> I seem to keep tinkering with it bit , but this is so close to its final
> form it seemed okto post
>
> GENDHING OVERTON-META SLENDRO TUNING)
>
> For as many players in as large of area possible within sounding
> distance. Players are free to move to explore interaction. Outside
> somewhat reverberant spaces preferred.
>
> This notes in this tuning* fall into groups of 2 and three note
> concentration of pitches that cause beating. Pitch is to be as precise
> as possible. Each of these groups will now be considered a living tone.
>
> When asked to perform a tone, one or all of the elements (notes) can be
> emphasized or not, simultaneously or in succession, and the player is
> free to move from one state to another. There are two factors informing
> that act upon what one plays
> 1) To hold onto a state until one has absorbed it
> 2) That nothing, much less the living is still in the universe. The
> interaction with others will commonly produce movement in ones tone,
> making individual movement unnecessary
>
> Each player chooses one tone at a time according to what they feel most
> intuitive drawn, or hear. The latter possibly increasing as the piece
> progresses. One should not choose tones “randomly” in a mechanical
> robotic fashion but retain one’s natural imagination.
>
> Duration also is informed by a number of factors that pull in different
> directions.
> 1) The duration of a tone is between 3-7 breaths. Resting between 2-5
> breaths. Once experienced one should dispel with counting, thinking of
> the duration and rest of a tone as a single breath which one repeats
> 2) One should not feel compelled to impose in an ongoing interaction nor
> feel required to stop one. The ear is to have a priority over these
> instructions being informed by uniqueness that presents itself.
>
> The duration of the overall piece is likewise informed by a number of
> factors
> 1) This can vary from what feels like a few hundred breaths as in 223 or
> 418, to maybe 1,556.
> 2) One should not feel compelled to stop or continue beyond what the
> unique factors of the performance dictate. While often this will be
> dictated by clock restrictions from the outside, this should be
> considered unfortunate but sometime inevitable
>
> *The original set of pitches being the 12-tone version of Wilson’s Meta
> Slendro as generated by Mt Meru. Spanning the harmonics 7-200. (7, 9,
> 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only use a
> different seeding of this recurrent sequence (Subharmonic versions are
> also an exciting possibility) but one could take it up to other cyclic
> points, such as 17,22, and 27 pitches. Adding pitches would involve more
> notes being incorporated into each tone. Other recurrent sequences
> possible. These alternatives are best only after some experience with
> the composition. Beyond this point care should be taken not to add so
> many pitches that the distance between one tone and another becomes
> ambiguous.
> KRAIG GRADY 7/17/006

🔗yahya_melb <yahya@...>

Hi Kraig,

--- In MakeMicroMusic@yahoogroups.com, Kraig Grady wrote:
>
> I rarely write a piece in this form but since i did and i have
can't remember seen one like it on any of these list, I thought i
would break the ice.

Kraig, I've never seen anything like it onlist. I guess one might
call this "directions for ensemble improvisation"?

How does such a thing work? Clearly, you'd want to be specific
enough to have some control over the possible outcomes (otherwise
it's going to be random and chaotic, little different from "found
sound"). OTOH, to give scope to the performers' sensibilities,
you'd need to avoid over-determining the flow of the work. So the
instructions you write would need to strike a balance between these
two poles. Still, if the piece is actively "conducted", one would
expect entirely different realisations from the same ensemble and
conductor depending on their states of mind on the day.

I guess the most fascinating thing about these directions is that
they don't *necessarily* incorporate any kind of narrative. This
seems uncommonly abstract coming from you! ;-) I'd love to hear a
performance you did.

> The piece is named after a composer Adam Overton who uses bodily
rhythms as a determining factor in his performances.
>
> I seem to keep tinkering with it bit , but this is so close to its
final form it seemed okto post
>
> GENDHING OVERTON-META SLENDRO TUNING)
>
> For as many players in as large of area possible within sounding
> distance. Players are free to move to explore interaction. Outside
> somewhat reverberant spaces preferred.
>
> This notes in this tuning* fall into groups of 2 and three note
concentration of pitches that cause beating. Pitch is to be as
precise as possible. Each of these groups will now be considered a
living tone.
>
> When asked to perform a tone, ...

Do you conduct this?

> ... one or all of the elements (notes) can be emphasized or not,
simultaneously or in succession, and the player is free to move from
one state to another. There are two factors informing that act upon
what one plays
> 1) To hold onto a state until one has absorbed it
> 2) That nothing, much less the living ...

Do you mean "living tone", perhaps?

> ... is still in the universe. ...

Does this mean there will be long silences?

> ... The interaction with others will commonly produce movement in
ones tone, making individual movement unnecessary

How does this tie in with the "bodily movement" idea?

> Each player chooses one tone at a time according to what they feel
most intuitive drawn, or hear. The latter possibly increasing as the
piece progresses. One should not choose tones "randomly" in a
mechanical robotic fashion but retain one's natural imagination.
>
> Duration also is informed by a number of factors that pull in
different directions.
> 1) The duration of a tone is between 3-7 breaths. Resting between
2-5 breaths. Once experienced one should dispel with counting,
thinking of the duration and rest of a tone as a single breath which
one repeats

Well, here's a fundamental bodily rhythm! The result at this pace
should be quite entrancing.

> 2) One should not feel compelled to impose in an ongoing
interaction nor feel required to stop one. The ear is to have a
priority over these instructions being informed by uniqueness that
presents itself.

Ah! The ensemble performer as musician, rather than as a cog in a
machine.

> The duration of the overall piece is likewise informed by a number
of factors
> 1) This can vary from what feels like a few hundred breaths as in
223 or 418, to maybe 1,556.
> 2) One should not feel compelled to stop or continue beyond what
the unique factors of the performance dictate. While often this will
be dictated by clock restrictions from the outside, this should be
considered unfortunate but sometime inevitable

Indeed, this process hould prove very absorbing.

> *The original set of pitches being the 12-tone version of Wilson's
Meta Slendro as generated by Mt Meru. Spanning the harmonics 7-200.
(7, 9, 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only
use a different seeding ...

for example?

> ... of this recurrent sequence (Subharmonic versions are also an
exciting possibility) but one could take it up to other cyclic
points, such as 17,22, and 27 pitches. Adding pitches would involve
more notes being incorporated into each tone. Other recurrent
sequences ...

I'm not sure what this phrase "recurrent sequences" means in this
context. (All sequences are "recurrent".)

> ... possible. These alternatives are best only after some
experience with the composition. ...

Has it been performed yet, or will it soon?

> ... Beyond this point care should be taken not to add so many
pitches that the distance between one tone and another becomes
ambiguous.

That's clear.

> KRAIG GRADY 7/17/006

Kraig, when can we hear this performed? Yes, I realise it will be
quite long, but I do want to hear it.

Regards,
Yahya

🔗Kraig Grady <kraiggrady@...>

first of all thank you for commenting on it

yahya_melb wrote:
> Hi Kraig,
>
> --- In MakeMicroMusic@yahoogroups.com, Kraig Grady wrote:
> >> I rarely write a piece in this form but since i did and i have >> > can't remember seen one like it on any of these list, I thought i > would break the ice.
>
> Kraig, I've never seen anything like it onlist. I guess one might > call this "directions for ensemble improvisation"?
> very much so! and it would be for such an ensemble or group of people who like to perform such things.
although the idea is that my ensemble in this tuning would be the core if not exclusive performing medium, but see no reason to restrict it as such
> How does such a thing work? Clearly, you'd want to be specific > enough to have some control over the possible outcomes (otherwise > it's going to be random and chaotic, little different from "found > sound"). I think quite a lot is already determined. the scale and the basic duration of the notes.
this will give the piece a very distinctive quality
such thing can be abused but if we allow some people to say walk down on the sidewalkthey will get into fights or hit or shoot others, this doesn't mean the solution is to restrict the walking on sidewalks.
> OTOH, to give scope to the performers' sensibilities, > you'd need to avoid over-determining the flow of the work. So the > instructions you write would need to strike a balance between these > two poles. Still, if the piece is actively "conducted", one would > expect entirely different realisations from the same ensemble and > conductor depending on their states of mind on the day.
> oh i sure hope so, if i want something complete defined, this is not the best way to do so.
The piece grew out of playing such things and is in part a informed by a resent performance that happen here with about 20 people.
My approach in performing such is say quite different than someone who has little experience with it and often people become what i see as overly passive in performing such things. i wanted to turn up the heat so to speak , but not by giving them more concrete instructions but by changing the way they are thinking about it for say when told to follow what they might interpret as impersonal instructions.
playing it like an office worker performs the task of filing papers cause he is told to.
> I guess the most fascinating thing about these directions is that > they don't *necessarily* incorporate any kind of narrative. The narrative I assume is what unfolds in the moment of the performance.

> This > seems uncommonly abstract coming from you! ;-) probably true as there is no micro element that defines it from the outright like most of my stuff.
though i can not think of a single piece where some element of spontaneous decision making does not take place.
i just can't tell people what to do and nothing else but.
It isn't my style , at least as a composer

my goal is always to tll the performer as little as possible supplementing wit hverbal instructions or insights only if needed
> I'd love to hear a > performance you did.
> haven't done one yet but might include this as part of other works in a couple of months
>
> >> The piece is named after a composer Adam Overton who uses bodily >> > rhythms as a determining factor in his performances.
> >> I seem to keep tinkering with it bit , but this is so close to its >> > final form it seemed okto post
> >> GENDHING OVERTON-META SLENDRO TUNING)
>>
>> For as many players in as large of area possible within sounding >> distance. Players are free to move to explore interaction. Outside >> somewhat reverberant spaces preferred.
>>
>> This notes in this tuning* fall into groups of 2 and three note >> > concentration of pitches that cause beating. Pitch is to be as > precise as possible. Each of these groups will now be considered a > living tone.
> >> When asked to perform a tone, ...
>> >
> Do you conduct this?
> no the players play when they feel they should or desire to.
>
> >> ... one or all of the elements (notes) can be emphasized or not, >> > simultaneously or in succession, and the player is free to move from > one state to another. There are two factors informing that act upon > what one plays
> >> 1) To hold onto a state until one has absorbed it
>> 2) That nothing, much less the living ... >> >
> Do you mean "living tone", perhaps?
> yes this applies to the idea of tone, i will try to make that clearer
>
> >> ... is still in the universe. ...
>> >
> Does this mean there will be long silences?
> no , i the instructsion for rests are in the duration between two and 5 breaths.
it refers to that a a held tone should not to be deathy still for instance
>
> >> ... The interaction with others will commonly produce movement in >> > ones tone, making individual movement unnecessary
>
> How does this tie in with the "bodily movement" idea?
> for instance an actor on stage can be expressive and change their expression by just being in a different relative position to other actors without changing their own position. take someone in achair facing a door that a person is at. everthing is fine, but if the person at the door moves somewhere else say, even in back of them and this person does not turn around and face them, you know something is up.
>
> >> Each player chooses one tone at a time according to what they feel >> > most intuitive drawn, or hear. The latter possibly increasing as the > piece progresses. One should not choose tones "randomly" in a > mechanical robotic fashion but retain one's natural imagination.
> >> Duration also is informed by a number of factors that pull in >> > different directions.
> >> 1) The duration of a tone is between 3-7 breaths. Resting between >> > 2-5 breaths. Once experienced one should dispel with counting, > thinking of the duration and rest of a tone as a single breath which > one repeats
>
> Well, here's a fundamental bodily rhythm! The result at this pace > should be quite entrancing.
>
>
> >> 2) One should not feel compelled to impose in an ongoing >> > interaction nor feel required to stop one. The ear is to have a > priority over these instructions being informed by uniqueness that > presents itself.
>
> Ah! The ensemble performer as musician, rather than as a cog in a > machine.
> that is it and something i wanted to address in this piece
> > >> The duration of the overall piece is likewise informed by a number >> > of factors
> >> 1) This can vary from what feels like a few hundred breaths as in >> > 223 or 418, to maybe 1,556.
> >> 2) One should not feel compelled to stop or continue beyond what >> > the unique factors of the performance dictate. While often this will > be dictated by clock restrictions from the outside, this should be > considered unfortunate but sometime inevitable
>
> Indeed, this process hould prove very absorbing.
>
>
> >> *The original set of pitches being the 12-tone version of Wilson's >> > Meta Slendro as generated by Mt Meru. Spanning the harmonics 7-200. > (7, 9, 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only > use a different seeding ... >
> for example?
> how about 10, 13 , 17, 23, 30, 40, 53, 70, etc.
>
> >
> -- 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