Re: Xenophon 3...

Prent:

"Jon, Another very nice piece. I enjoyed it tremendously."

Jacob:

"I especially like the bass ostinato that evolves (is that the saz or
the 'oud?). Did you compose with a mode in mind?"

Thanks guys, both for listening and for the comments. The "mode" used is
a hexatonic scale: 0 - 1 - 3 - 5 - 7 - 9. (And it's the 'oud, Jacob.)
This is the third incarnation of this piece, which I return to on
occasion, and rework into a slightly different form. It's rather like a
continuous work-in-progress, so there may never be a "final" version.

Harmonically, I find I'm not too comfortable in 11-et; but I really love
the monodic/melodic possibilities. I will most likely check into 22-et
and see what I can do with that....

Best,

jls

Jon (the Greater):

"I like all the parts, melodically and instrumental sounds, except for
the drum sounds. Just doesn't go with the rest of the ensemble. I also
totally yearn for some dynamic contrast in the piece, because it is
seeming static and mechanical, when the music feels like it should ebb
and flow more."

[The following post may contain feeble attempts at humor.]

Hey, it's my favorite critic! Where have you been hiding?

I'm none too pleased with the percussion too. I may tinker with some
Eastern percussion soundfonts later -- but remember, this is a
work-in-progress (that's my story & I'm sticking to it) and I need to
give you something to look forward to!

Besides, this work apparently sounds a lot better when compared to my
other latest work, "Sonata for Guitar & Harpsichord in 19-ET", posted at
ZeBox:

http://zebox.com/jlsmith/music <http://zebox.com/jlsmith/music>

This is another one of my comfortably classical, un-threateningly tonal
works of the sort that usually goes over well with the good folks at the
Society. Sadly, I made the mistake of mentioning the "19-ET " thing and
thus the silence has been deafening -- well, except for the occasional
chirp of a depressed cricket.

Best,

jon (the lesser)

[Non-text portions of this message have been removed]

Aaron:

"Anyway, I always have enjoyed your work...I'm curious, though---aren't
you in that Delian society group? Don't they spit on the very idea of
11-equal? ;)"

"Spit" is such a crude term, Aaron. I think I like "expectorate" much
better -- has a sort of upper-class resonance, don't you agree? But
"spit" does at least accurately convey the sense of contempt for non-12
tunings we're discussing. Deeply satisfying to my inner masochist.

;-)

jls

JLS,

{you wrote...}
>But "spit" does at least accurately convey the sense of contempt for non-12
>tunings we're discussing. Deeply satisfying to my inner masochist.

What would happen if a bunch of us ended up belonging to that group, if only to post non-12 music? I'm not advocating such an approach, and not interested in being mean-spirited to them, but I wonder if a small number of people who were very sincere in their non-12 music-making might sway some folks.

Naaaaah.

Cheers,
Jon

--- In MakeMicroMusic@yahoogroups.com, Jon Szanto <jszanto@...> wrote:

> What would happen if a bunch of us ended up belonging to that group,
if only to post non-12 music?

There's *already* a bunch of us there, and the discussion of non-12 et
music is active.

--- In MakeMicroMusic@yahoogroups.com, "J.Smith" <jsmith9624@...> wrote:

> "Spit" is such a crude term, Aaron. I think I like "expectorate" much
> better -- has a sort of upper-class resonance, don't you agree? But
> "spit" does at least accurately convey the sense of contempt for non-
12
> tunings we're discussing. Deeply satisfying to my inner masochist.

That's mostly coming from Roman Turovsky, who is a bit eccentric. I
loved the time when Shawn Beard, who has a very 19th century style,
offered something up and was told it sounded like Galuppi.