For Jacob -- Compositions

Dear Jacob (and All),

Thannk you for your exciting ideas about more compositional events. Right
now, as mentioned in another article I'm about to post, I'm getting ready
to record a piece I recently wrote, and could indeed make available a
score for -- in a kind of ASCII keyboard notation at least, since I'm not
sure how best to notate the system more conventionally, in Sagittal at any
rate. Irregular temperaments can be fun <grin>.

I'm considering some more pieces I might write, and so certainly want to
keep in touch with your efforts, which seem most admirable in seeking to
be as inclusive as possible while offering some stimulating ideas and
directions.

This is a year when I'd like to write some longer pieces, which I know is
one of the focuses you mentioned in an earlier post. Maybe my best
approach is to do what I'd do anyway, and simply compose for any
instruments that might be available -- specific instrumentations became
more common around the 17th century, and "Music for Voyces, Viols, or
Other Apt Instruments" is an Elizabethan phrase that captures a lot of my
philosophy.

Your brilliant idea of doing _Sub arbore_ for strings in the first 17-EDO
concert is a good example: I tend to compose often in a more or less
"vocal" style anyway, which can be adapted to various instruments. The
challenge is to write the music, and let others worry about which
instruments they prefer, or whether it's modal, tonal, atonal, or
otherwise, and so forth. One thing that did occur to me is that kind of
intonation I often like with narrow semitones might fit some of the trends
of many string players -- but this isn't to say that they should be
excluded from performing in a meantone style, either!

Anyway, I wanted to express my enthusiasm and help to keep the process
going.

Peace and love,

Margo

I guess the question of a score would be what need you might want to fulfill. if not both
The advantage to a keyboard or even conventional tuning of how you play it
would be that others could play if, if that is your goal ,or if you decided to change the tuning
it would be easy to do so by changing the tuning of your keyboard
or others might wish to do so with something close good for comparisons.

Sagittal would convey the actual intervals who those you might want to give
a hearing and compositional aid to a recording. Also since we don't have
allot of examples of Sagittal in the wild,it might brings things to light
that can't be as apparent by just going through what people think they might need.

Good music seems to be able to survive different changes of timbre.
Sometimes some group comes together plays something not written specifically
for what they have and it works amazing well.
This helps getting further ideas and opportunities of areas to explore
if your music fits nicely for it in some unexpected way.
and there is no reason that a piece might not enjoy
a life appearing in varied instrumentation, like a multi faced jewel.
it is like a plant that can grow in more varied soil. and as you mention there is a long standing tradition of it.

Margo Schulter wrote:
> Dear Jacob (and All),
>
> Thannk you for your exciting ideas about more compositional events. Right
> now, as mentioned in another article I'm about to post, I'm getting ready
> to record a piece I recently wrote, and could indeed make available a
> score for -- in a kind of ASCII keyboard notation at least, since I'm not
> sure how best to notate the system more conventionally, in Sagittal at any
> rate. Irregular temperaments can be fun <grin>.
>
> I'm considering some more pieces I might write, and so certainly want to
> keep in touch with your efforts, which seem most admirable in seeking to
> be as inclusive as possible while offering some stimulating ideas and
> directions.
>
> This is a year when I'd like to write some longer pieces, which I know is
> one of the focuses you mentioned in an earlier post. Maybe my best
> approach is to do what I'd do anyway, and simply compose for any
> instruments that might be available -- specific instrumentations became
> more common around the 17th century, and "Music for Voyces, Viols, or
> Other Apt Instruments" is an Elizabethan phrase that captures a lot of my
> philosophy.
>
> Your brilliant idea of doing _Sub arbore_ for strings in the first 17-EDO
> concert is a good example: I tend to compose often in a more or less
> "vocal" style anyway, which can be adapted to various instruments. The
> challenge is to write the music, and let others worry about which
> instruments they prefer, or whether it's modal, tonal, atonal, or
> otherwise, and so forth. One thing that did occur to me is that kind of
> intonation I often like with narrow semitones might fit some of the trends
> of many string players -- but this isn't to say that they should be
> excluded from performing in a meantone style, either!
>
> Anyway, I wanted to express my enthusiasm and help to keep the process
> going.
>
> Peace and love,
>
> Margo
>
>
>
> > Yahoo! Groups Links
>
>
>
>
>
> -- Kraig Grady
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