Yahoo Tuning Groups Ultimate Backup makemicromusic New piece and moved to New York

Hi MMMers,

I have been silent on this list for a while because I got a new
(programming) job and I have been busy relocating and working, but
here is a little something I wrote in the evenings of the the last few
days:

http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3

This little piece is written in 53edo as a practical matter but it is
really intended for JI.

It uses three voices in a very basic manner: one arpeggio, one bass,
and one melody voice.

At a coarse level it is mostly diatonic and you could say very cliche,
but at a finer level it makes various comma distinctions.

The name of the song, "Utonal Seventh" comes from having realized how
utonal tetrads can be used effectively in a diatonic context. Suppose
that you are writing music in the C or F major key and the chords
wander around to D- minor and you want to get to a C major chord. You
could go via F major or Bb major or other possibilities, but they
easily sound bland and boring. I found that an effective way is to add
a B at 8/7 above A- to the D- minor chord so that it becomes
an utonal tetrad with the most unstable note being the B, which leads
very naturally to a C in a C major chord.

Generally in this piece I chose to accept and embrace commas as a
valuable resource instead of being a problem. I think in general a
song has to either embrace commas or shy away from them -- with very
static pitches, shifting a pitch a comma all of a sudden can be very
distracting and unsettling.

The timbre could be better, but I hacked together the composition tool
myself and it is very limited in many ways.

Going to a different topic, I live in New York now so I would be
interested to know more
about the microtonal community in the area and perhaps also meeting some
people.

Best,
Magnus Jonsson

🔗Carl Lumma <carl@...>

Hi Magnus,

It sounds like you made that choice you asked about here not
long ago. I hope your new job works out well! It doesn't seem
to have hurt your music too much, as this file is in some ways
the most polished one I've heard from you. The timbre and
orchestration strongly evoke video game music, which I happen
to like, and that is not the only reason I like it.

-Carl

At 09:10 PM 11/19/2008, you wrote:
>Hi MMMers,
>
>I have been silent on this list for a while because I got a new
>(programming) job and I have been busy relocating and working, but
>here is a little something I wrote in the evenings of the the last few
>days:
>
>http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>
>This little piece is written in 53edo as a practical matter but it is
>really intended for JI.
>
>It uses three voices in a very basic manner: one arpeggio, one bass,
>and one melody voice.
>
>At a coarse level it is mostly diatonic and you could say very cliche,
>but at a finer level it makes various comma distinctions.
>
>The name of the song, "Utonal Seventh" comes from having realized how
>utonal tetrads can be used effectively in a diatonic context. Suppose
>that you are writing music in the C or F major key and the chords
>wander around to D- minor and you want to get to a C major chord. You
>could go via F major or Bb major or other possibilities, but they
>easily sound bland and boring. I found that an effective way is to add
>a B at 8/7 above A- to the D- minor chord so that it becomes
>an utonal tetrad with the most unstable note being the B, which leads
>very naturally to a C in a C major chord.
>
>Generally in this piece I chose to accept and embrace commas as a
>valuable resource instead of being a problem. I think in general a
>song has to either embrace commas or shy away from them -- with very
>static pitches, shifting a pitch a comma all of a sudden can be very
>distracting and unsettling.
>
>The timbre could be better, but I hacked together the composition tool
>myself and it is very limited in many ways.
>
>Going to a different topic, I live in New York now so I would be
>interested to know more
>about the microtonal community in the area and perhaps also meeting some
>people.
>
>Best,
>Magnus Jonsson
>

🔗Magnus Jonsson <jmagnusj@...>

Thanks Carl, my work has been pretty interesting and perhaps having a
real day job helps a bit with finishing and polishing things. I am
still not completely happy with the ending of this piece though. There
is still opportunity for more polishing. I also have another longer
piece in progress which I am more or less stuck with, but hopefully I
will be able to finish that off too.

Btw, dawiers recent music has been fantastic.

Magnus

On Thu, Nov 20, 2008 at 12:35 AM, Carl Lumma <carl@...> wrote:
> Hi Magnus,
>
> It sounds like you made that choice you asked about here not
> long ago. I hope your new job works out well! It doesn't seem
> to have hurt your music too much, as this file is in some ways
> the most polished one I've heard from you. The timbre and
> orchestration strongly evoke video game music, which I happen
> to like, and that is not the only reason I like it.
>
> -Carl
>
> At 09:10 PM 11/19/2008, you wrote:
>>Hi MMMers,
>>
>>I have been silent on this list for a while because I got a new
>>(programming) job and I have been busy relocating and working, but
>>here is a little something I wrote in the evenings of the the last few
>>days:
>>
>>http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>>
>>This little piece is written in 53edo as a practical matter but it is
>>really intended for JI.
>>
>>It uses three voices in a very basic manner: one arpeggio, one bass,
>>and one melody voice.
>>
>>At a coarse level it is mostly diatonic and you could say very cliche,
>>but at a finer level it makes various comma distinctions.
>>
>>The name of the song, "Utonal Seventh" comes from having realized how
>>utonal tetrads can be used effectively in a diatonic context. Suppose
>>that you are writing music in the C or F major key and the chords
>>wander around to D- minor and you want to get to a C major chord. You
>>could go via F major or Bb major or other possibilities, but they
>>easily sound bland and boring. I found that an effective way is to add
>>a B at 8/7 above A- to the D- minor chord so that it becomes
>>an utonal tetrad with the most unstable note being the B, which leads
>>very naturally to a C in a C major chord.
>>
>>Generally in this piece I chose to accept and embrace commas as a
>>valuable resource instead of being a problem. I think in general a
>>song has to either embrace commas or shy away from them -- with very
>>static pitches, shifting a pitch a comma all of a sudden can be very
>>distracting and unsettling.
>>
>>The timbre could be better, but I hacked together the composition tool
>>myself and it is very limited in many ways.
>>
>>Going to a different topic, I live in New York now so I would be
>>interested to know more
>>about the microtonal community in the area and perhaps also meeting some
>>people.
>>
>>Best,
>>Magnus Jonsson
>>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗Kalle Aho <kalleaho@...>

🔗Danny Wier <dawiertx@...>

On Thu, 2008-11-20 at 00:10 -0500, Magnus Jonsson wrote:
> Hi MMMers,
>
> I have been silent on this list for a while because I got a new
> (programming) job and I have been busy relocating and working, but
> here is a little something I wrote in the evenings of the the last few
> days:
>
> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3

First of all, congrats! I hope you found somewhere that isn't too
expensive; Manhattan in particular is ridiculous. If I'm ever in the
area...

I like what you got there, cliché or no cliché, and I've been using
seventh-undertone pitches far too little, so I need to work on that.
I'll try to listen to the rest of your music this morning.

(To the rest of you: I haven't been keeping up too well with your work,
my apologies. The 22-tone piece was really good.)

~D.

🔗Kraig Grady <kraiggrady@...>

you just need a female singer to sing this ala some kinda post young marble giants
(one of kurt c. favorite bands)

/^_,',',',_ //^ /Kraig Grady_ ^_,',',',_
Mesotonal Music from:
_'''''''_ ^North/Western Hemisphere: North American Embassy of Anaphoria Island <http://anaphoria.com/>

_'''''''_ ^South/Eastern Hemisphere:
Austronesian Outpost of Anaphoria <http://anaphoriasouth.blogspot.com/>

',',',',',',',',',',',',',',',',',',',',',',',',',',',',',

Magnus Jonsson wrote:
>
> Thanks Carl, my work has been pretty interesting and perhaps having a
> real day job helps a bit with finishing and polishing things. I am
> still not completely happy with the ending of this piece though. There
> is still opportunity for more polishing. I also have another longer
> piece in progress which I am more or less stuck with, but hopefully I
> will be able to finish that off too.
>
> Btw, dawiers recent music has been fantastic.
>
> Magnus
>
> On Thu, Nov 20, 2008 at 12:35 AM, Carl Lumma <carl@... > <mailto:carl%40lumma.org>> wrote:
> > Hi Magnus,
> >
> > It sounds like you made that choice you asked about here not
> > long ago. I hope your new job works out well! It doesn't seem
> > to have hurt your music too much, as this file is in some ways
> > the most polished one I've heard from you. The timbre and
> > orchestration strongly evoke video game music, which I happen
> > to like, and that is not the only reason I like it.
> >
> > -Carl
> >
> > At 09:10 PM 11/19/2008, you wrote:
> >>Hi MMMers,
> >>
> >>I have been silent on this list for a while because I got a new
> >>(programming) job and I have been busy relocating and working, but
> >>here is a little something I wrote in the evenings of the the last few
> >>days:
> >>
> >>http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3 > <http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3>
> >>
> >>This little piece is written in 53edo as a practical matter but it is
> >>really intended for JI.
> >>
> >>It uses three voices in a very basic manner: one arpeggio, one bass,
> >>and one melody voice.
> >>
> >>At a coarse level it is mostly diatonic and you could say very cliche,
> >>but at a finer level it makes various comma distinctions.
> >>
> >>The name of the song, "Utonal Seventh" comes from having realized how
> >>utonal tetrads can be used effectively in a diatonic context. Suppose
> >>that you are writing music in the C or F major key and the chords
> >>wander around to D- minor and you want to get to a C major chord. You
> >>could go via F major or Bb major or other possibilities, but they
> >>easily sound bland and boring. I found that an effective way is to add
> >>a B at 8/7 above A- to the D- minor chord so that it becomes
> >>an utonal tetrad with the most unstable note being the B, which leads
> >>very naturally to a C in a C major chord.
> >>
> >>Generally in this piece I chose to accept and embrace commas as a
> >>valuable resource instead of being a problem. I think in general a
> >>song has to either embrace commas or shy away from them -- with very
> >>static pitches, shifting a pitch a comma all of a sudden can be very
> >>distracting and unsettling.
> >>
> >>The timbre could be better, but I hacked together the composition tool
> >>myself and it is very limited in many ways.
> >>
> >>Going to a different topic, I live in New York now so I would be
> >>interested to know more
> >>about the microtonal community in the area and perhaps also meeting some
> >>people.
> >>
> >>Best,
> >>Magnus Jonsson
> >>
> >
> >
> > ------------------------------------
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
>
>

🔗Aaron Krister Johnson <aaron@...>

Good going, Magnus--I quite enjoyed it!

What's your setup...the timbre didn't bother me at all, straight ahead
synth sounds sometimes are all we need, and hit the spot.

Good luck in the Big (and expensive) Apple.

Best,
Aaron.

--- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...>
wrote:
>
> Hi MMMers,
>
> I have been silent on this list for a while because I got a new
> (programming) job and I have been busy relocating and working, but
> here is a little something I wrote in the evenings of the the last few
> days:
>
> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>
> This little piece is written in 53edo as a practical matter but it is
> really intended for JI.
>
> It uses three voices in a very basic manner: one arpeggio, one bass,
> and one melody voice.
>
> At a coarse level it is mostly diatonic and you could say very cliche,
> but at a finer level it makes various comma distinctions.
>
> The name of the song, "Utonal Seventh" comes from having realized how
> utonal tetrads can be used effectively in a diatonic context. Suppose
> that you are writing music in the C or F major key and the chords
> wander around to D- minor and you want to get to a C major chord. You
> could go via F major or Bb major or other possibilities, but they
> easily sound bland and boring. I found that an effective way is to add
> a B at 8/7 above A- to the D- minor chord so that it becomes
> an utonal tetrad with the most unstable note being the B, which leads
> very naturally to a C in a C major chord.
>
> Generally in this piece I chose to accept and embrace commas as a
> valuable resource instead of being a problem. I think in general a
> song has to either embrace commas or shy away from them -- with very
> static pitches, shifting a pitch a comma all of a sudden can be very
> distracting and unsettling.
>
> The timbre could be better, but I hacked together the composition tool
> myself and it is very limited in many ways.
>
> Going to a different topic, I live in New York now so I would be
> interested to know more
> about the microtonal community in the area and perhaps also meeting some
> people.
>
> Best,
> Magnus Jonsson
>

🔗Aaron Andrew Hunt <aaronhunt@...>

Nice work, Magnus. I enjoyed the timbre as well, as it is similar
to my favorite SID sounds from my Commodore 64, with a little
added reverb.

Cheers,
Aaron
=====

--- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...> wrote:
>
> Hi MMMers,
>
> I have been silent on this list for a while because I got a new
> (programming) job and I have been busy relocating and working, but
> here is a little something I wrote in the evenings of the the last few
> days:
>
> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>
> This little piece is written in 53edo as a practical matter but it is
> really intended for JI.
>
> It uses three voices in a very basic manner: one arpeggio, one bass,
> and one melody voice.
>
> At a coarse level it is mostly diatonic and you could say very cliche,
> but at a finer level it makes various comma distinctions.
>
> The name of the song, "Utonal Seventh" comes from having realized how
> utonal tetrads can be used effectively in a diatonic context. Suppose
> that you are writing music in the C or F major key and the chords
> wander around to D- minor and you want to get to a C major chord. You
> could go via F major or Bb major or other possibilities, but they
> easily sound bland and boring. I found that an effective way is to add
> a B at 8/7 above A- to the D- minor chord so that it becomes
> an utonal tetrad with the most unstable note being the B, which leads
> very naturally to a C in a C major chord.
>
> Generally in this piece I chose to accept and embrace commas as a
> valuable resource instead of being a problem. I think in general a
> song has to either embrace commas or shy away from them -- with very
> static pitches, shifting a pitch a comma all of a sudden can be very
> distracting and unsettling.
>
> The timbre could be better, but I hacked together the composition tool
> myself and it is very limited in many ways.
>
> Going to a different topic, I live in New York now so I would be
> interested to know more
> about the microtonal community in the area and perhaps also meeting some
> people.
>
> Best,
> Magnus Jonsson
>

🔗Kraig Grady <kraiggrady@...>

you could do some nice microtonal music with the commodore 64. A friend Jose Garcia was modulating eikosanies with random melodic lines on the fly. I had an improv group where he could show up and tune to what we were doing

/^_,',',',_ //^ /Kraig Grady_ ^_,',',',_
Mesotonal Music from:
_'''''''_ ^North/Western Hemisphere: North American Embassy of Anaphoria Island <http://anaphoria.com/>

_'''''''_ ^South/Eastern Hemisphere:
Austronesian Outpost of Anaphoria <http://anaphoriasouth.blogspot.com/>

',',',',',',',',',',',',',',',',',',',',',',',',',',',',',

Aaron Andrew Hunt wrote:
>
> Nice work, Magnus. I enjoyed the timbre as well, as it is similar
> to my favorite SID sounds from my Commodore 64, with a little
> added reverb.
>
> Cheers,
> Aaron
> =====
>
> --
>
>

🔗hstraub64 <straub@...>

I have to say I do not like the timbre. Cheap-sounding computer synth
can have its charms, but I would say not for this kind of music. And
the performance sounds also quite mechanical to me - very "flat"
rhythm, and I heard no variety in velocity. So I could not really enjoy
the composition and its tuning subtleties.

Oh, and BTW, the Commodore 64 could produce MUCH better sounds! Mine
did, in any case, when it was still alive (RIP *sniff*)...
--
Hans Straub

🔗Mats Öljare <oljare@...>

🔗Jacob <udderbot@...>

Hey, I want to arrange this for udderbot choir. We might have to use non-sliding bottles
though, for accuracy's sake. I transcribed the melody, it sounds nice on udderbot, and I
think I can make the long breaths. I would love a score, or a slowed-down version, or
anything to make it easier to arrange.

So in the second measure I hear a sort of F# used in the utonal-passing way you describe:
a 10:7 from C? I am not sure if I ever hear a voice move by a single comma - maybe
once? And the melody line is mostly playing a just diatonic scale, with a couple 21/16s
and a 35/32, and just one 10/9 also? Although more 10/9s in the bass.

...
j

--- In MakeMicroMusic@yahoogroups.com, "Aaron Andrew Hunt" <aaronhunt@...> wrote:
>
> Nice work, Magnus. I enjoyed the timbre as well, as it is similar
> to my favorite SID sounds from my Commodore 64, with a little
> added reverb.
>
> Cheers,
> Aaron
> =====
>
>
> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@> wrote:

> > http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
> >
> > This little piece is written in 53edo as a practical matter but it is
> > really intended for JI.
> >
> > It uses three voices in a very basic manner: one arpeggio, one bass,
> > and one melody voice.
> >
> > At a coarse level it is mostly diatonic and you could say very cliche,
> > but at a finer level it makes various comma distinctions.
> >
> > The name of the song, "Utonal Seventh" comes from having realized how
> > utonal tetrads can be used effectively in a diatonic context. Suppose
> > that you are writing music in the C or F major key and the chords
> > wander around to D- minor and you want to get to a C major chord. You
> > could go via F major or Bb major or other possibilities, but they
> > easily sound bland and boring. I found that an effective way is to add
> > a B at 8/7 above A- to the D- minor chord so that it becomes
> > an utonal tetrad with the most unstable note being the B, which leads
> > very naturally to a C in a C major chord.
> >
> > Generally in this piece I chose to accept and embrace commas as a
> > valuable resource instead of being a problem. I think in general a
> > song has to either embrace commas or shy away from them -- with very
> > static pitches, shifting a pitch a comma all of a sudden can be very
> > distracting and unsettling.
> >
> > The timbre could be better, but I hacked together the composition tool
> > myself and it is very limited in many ways.
> >
> > Going to a different topic, I live in New York now so I would be
> > interested to know more
> > about the microtonal community in the area and perhaps also meeting some
> > people.
> >
> > Best,
> > Magnus Jonsson
> >
>

🔗Magnus Jonsson <jmagnusj@...>

Thanks Aaron,

The setup is as follows:

random pitch wavering -> saw oscillator -> moog filter -> modulated reverb

It's the only sound that I've been able synthesize and that I could
stand listening to for the past six months while using my tracker.

Best,
Magnus

On Thu, Nov 20, 2008 at 10:43 PM, Aaron Krister Johnson
<aaron@...> wrote:
>
> Good going, Magnus--I quite enjoyed it!
>
> What's your setup...the timbre didn't bother me at all, straight ahead
> synth sounds sometimes are all we need, and hit the spot.
>
> Good luck in the Big (and expensive) Apple.
>
> Best,
> Aaron.
>
> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...>
> wrote:
>>
>> Hi MMMers,
>>
>> I have been silent on this list for a while because I got a new
>> (programming) job and I have been busy relocating and working, but
>> here is a little something I wrote in the evenings of the the last few
>> days:
>>
>> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>>
>> This little piece is written in 53edo as a practical matter but it is
>> really intended for JI.
>>
>> It uses three voices in a very basic manner: one arpeggio, one bass,
>> and one melody voice.
>>
>> At a coarse level it is mostly diatonic and you could say very cliche,
>> but at a finer level it makes various comma distinctions.
>>
>> The name of the song, "Utonal Seventh" comes from having realized how
>> utonal tetrads can be used effectively in a diatonic context. Suppose
>> that you are writing music in the C or F major key and the chords
>> wander around to D- minor and you want to get to a C major chord. You
>> could go via F major or Bb major or other possibilities, but they
>> easily sound bland and boring. I found that an effective way is to add
>> a B at 8/7 above A- to the D- minor chord so that it becomes
>> an utonal tetrad with the most unstable note being the B, which leads
>> very naturally to a C in a C major chord.
>>
>> Generally in this piece I chose to accept and embrace commas as a
>> valuable resource instead of being a problem. I think in general a
>> song has to either embrace commas or shy away from them -- with very
>> static pitches, shifting a pitch a comma all of a sudden can be very
>> distracting and unsettling.
>>
>> The timbre could be better, but I hacked together the composition tool
>> myself and it is very limited in many ways.
>>
>> Going to a different topic, I live in New York now so I would be
>> interested to know more
>> about the microtonal community in the area and perhaps also meeting some
>> people.
>>
>> Best,
>> Magnus Jonsson
>>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗Magnus Jonsson <jmagnusj@...>

Jacob,

I am very flattered by your efforts to transcribe this piece and I
would love to hear it performed in a less mechanic manner. I will make
a JI score of it for you, although I am short on time these days so it
may take a little longer than I would like. There is indeed only one
direct comma shift in the piece, going from 4/3 to 21/16. Other comma
shifts have other notes in between them which makes them not as
obvious.

Best,
Magnus

On Sat, Nov 22, 2008 at 4:46 PM, Jacob <udderbot@...> wrote:
> Hey, I want to arrange this for udderbot choir. We might have to use non-sliding bottles
> though, for accuracy's sake. I transcribed the melody, it sounds nice on udderbot, and I
> think I can make the long breaths. I would love a score, or a slowed-down version, or
> anything to make it easier to arrange.
>
> So in the second measure I hear a sort of F# used in the utonal-passing way you describe:
> a 10:7 from C? I am not sure if I ever hear a voice move by a single comma - maybe
> once? And the melody line is mostly playing a just diatonic scale, with a couple 21/16s
> and a 35/32, and just one 10/9 also? Although more 10/9s in the bass.
>
> ...
> j
>
> --- In MakeMicroMusic@yahoogroups.com, "Aaron Andrew Hunt" <aaronhunt@...> wrote:
>>
>> Nice work, Magnus. I enjoyed the timbre as well, as it is similar
>> to my favorite SID sounds from my Commodore 64, with a little
>> added reverb.
>>
>> Cheers,
>> Aaron
>> =====
>>
>>
>> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@> wrote:
>
>> > http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>> >
>> > This little piece is written in 53edo as a practical matter but it is
>> > really intended for JI.
>> >
>> > It uses three voices in a very basic manner: one arpeggio, one bass,
>> > and one melody voice.
>> >
>> > At a coarse level it is mostly diatonic and you could say very cliche,
>> > but at a finer level it makes various comma distinctions.
>> >
>> > The name of the song, "Utonal Seventh" comes from having realized how
>> > utonal tetrads can be used effectively in a diatonic context. Suppose
>> > that you are writing music in the C or F major key and the chords
>> > wander around to D- minor and you want to get to a C major chord. You
>> > could go via F major or Bb major or other possibilities, but they
>> > easily sound bland and boring. I found that an effective way is to add
>> > a B at 8/7 above A- to the D- minor chord so that it becomes
>> > an utonal tetrad with the most unstable note being the B, which leads
>> > very naturally to a C in a C major chord.
>> >
>> > Generally in this piece I chose to accept and embrace commas as a
>> > valuable resource instead of being a problem. I think in general a
>> > song has to either embrace commas or shy away from them -- with very
>> > static pitches, shifting a pitch a comma all of a sudden can be very
>> > distracting and unsettling.
>> >
>> > The timbre could be better, but I hacked together the composition tool
>> > myself and it is very limited in many ways.
>> >
>> > Going to a different topic, I live in New York now so I would be
>> > interested to know more
>> > about the microtonal community in the area and perhaps also meeting some
>> > people.
>> >
>> > Best,
>> > Magnus Jonsson
>> >
>>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗Magnus Jonsson <jmagnusj@...>

Thanks Danny,

I have definitely found the seventh undertone harder to understand
than the seventh overtone, and like you I regret I haven't been able
to follow all the music on this very closely lately.

Best,
Magnus

On Thu, Nov 20, 2008 at 4:26 AM, Danny Wier <dawiertx@sbcglobal.net> wrote:
> On Thu, 2008-11-20 at 00:10 -0500, Magnus Jonsson wrote:
>> Hi MMMers,
>>
>> I have been silent on this list for a while because I got a new
>> (programming) job and I have been busy relocating and working, but
>> here is a little something I wrote in the evenings of the the last few
>> days:
>>
>> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-_Utonal_Seventh.mp3
>
> First of all, congrats! I hope you found somewhere that isn't too
> expensive; Manhattan in particular is ridiculous. If I'm ever in the
> area...
>
> I like what you got there, cliché or no cliché, and I've been using
> seventh-undertone pitches far too little, so I need to work on that.
> I'll try to listen to the rest of your music this morning.
>
> (To the rest of you: I haven't been keeping up too well with your work,
> my apologies. The 22-tone piece was really good.)
>
> ~D.
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗Carl Lumma <carl@...>

🔗Aaron Krister Johnson <aaron@...>

--- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson"
<jmagnusj@...> wrote:
>
> Thanks Aaron,
>
> The setup is as follows:
>
> random pitch wavering -> saw oscillator -> moog filter -> modulated
reverb

Software?

> It's the only sound that I've been able synthesize and that I could
> stand listening to for the past six months while using my tracker.

So, which tracker allows 53edo?

> Best,
> Magnus
>
> On Thu, Nov 20, 2008 at 10:43 PM, Aaron Krister Johnson
> <aaron@...> wrote:
> >
> > Good going, Magnus--I quite enjoyed it!
> >
> > What's your setup...the timbre didn't bother me at all, straight
ahead
> > synth sounds sometimes are all we need, and hit the spot.
> >
> > Good luck in the Big (and expensive) Apple.
> >
> > Best,
> > Aaron.
> >
> > --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson"
<jmagnusj@>
> > wrote:
> >>
> >> Hi MMMers,
> >>
> >> I have been silent on this list for a while because I got a new
> >> (programming) job and I have been busy relocating and working,
but
> >> here is a little something I wrote in the evenings of the the
last few
> >> days:
> >>
> >> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-
_Utonal_Seventh.mp3
> >>
> >> This little piece is written in 53edo as a practical matter but
it is
> >> really intended for JI.
> >>
> >> It uses three voices in a very basic manner: one arpeggio, one
bass,
> >> and one melody voice.
> >>
> >> At a coarse level it is mostly diatonic and you could say very
cliche,
> >> but at a finer level it makes various comma distinctions.
> >>
> >> The name of the song, "Utonal Seventh" comes from having
realized how
> >> utonal tetrads can be used effectively in a diatonic context.
Suppose
> >> that you are writing music in the C or F major key and the chords
> >> wander around to D- minor and you want to get to a C major
chord. You
> >> could go via F major or Bb major or other possibilities, but they
> >> easily sound bland and boring. I found that an effective way is
to add
> >> a B at 8/7 above A- to the D- minor chord so that it becomes
> >> an utonal tetrad with the most unstable note being the B, which
leads
> >> very naturally to a C in a C major chord.
> >>
> >> Generally in this piece I chose to accept and embrace commas as a
> >> valuable resource instead of being a problem. I think in general
a
> >> song has to either embrace commas or shy away from them -- with
very
> >> static pitches, shifting a pitch a comma all of a sudden can be
very
> >> distracting and unsettling.
> >>
> >> The timbre could be better, but I hacked together the
composition tool
> >> myself and it is very limited in many ways.
> >>
> >> Going to a different topic, I live in New York now so I would be
> >> interested to know more
> >> about the microtonal community in the area and perhaps also
meeting some
> >> people.
> >>
> >> Best,
> >> Magnus Jonsson
> >>
> >
> >
> >
> > ------------------------------------
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
>

🔗Magnus Jonsson <jmagnusj@...>

Yes, software synthesis. The tracker is my own piece of software. It
is very crude but if you are interested in checking it out it's on
github at http://github.com/magnusjonsson/microtracker

Best,
Magnus

On Sun, Nov 23, 2008 at 1:44 PM, Aaron Krister Johnson
<aaron@...> wrote:
> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson"
> <jmagnusj@...> wrote:
>>
>> Thanks Aaron,
>>
>> The setup is as follows:
>>
>> random pitch wavering -> saw oscillator -> moog filter -> modulated
> reverb
>
> Software?
>
>
>> It's the only sound that I've been able synthesize and that I could
>> stand listening to for the past six months while using my tracker.
>
> So, which tracker allows 53edo?
>
>> Best,
>> Magnus
>>
>> On Thu, Nov 20, 2008 at 10:43 PM, Aaron Krister Johnson
>> <aaron@...> wrote:
>> >
>> > Good going, Magnus--I quite enjoyed it!
>> >
>> > What's your setup...the timbre didn't bother me at all, straight
> ahead
>> > synth sounds sometimes are all we need, and hit the spot.
>> >
>> > Good luck in the Big (and expensive) Apple.
>> >
>> > Best,
>> > Aaron.
>> >
>> > --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson"
> <jmagnusj@>
>> > wrote:
>> >>
>> >> Hi MMMers,
>> >>
>> >> I have been silent on this list for a while because I got a new
>> >> (programming) job and I have been busy relocating and working,
> but
>> >> here is a little something I wrote in the evenings of the the
> last few
>> >> days:
>> >>
>> >> http://magnus.hcoop.net/music/files/Magnus_Jonsson_-
> _Utonal_Seventh.mp3
>> >>
>> >> This little piece is written in 53edo as a practical matter but
> it is
>> >> really intended for JI.
>> >>
>> >> It uses three voices in a very basic manner: one arpeggio, one
> bass,
>> >> and one melody voice.
>> >>
>> >> At a coarse level it is mostly diatonic and you could say very
> cliche,
>> >> but at a finer level it makes various comma distinctions.
>> >>
>> >> The name of the song, "Utonal Seventh" comes from having
> realized how
>> >> utonal tetrads can be used effectively in a diatonic context.
> Suppose
>> >> that you are writing music in the C or F major key and the chords
>> >> wander around to D- minor and you want to get to a C major
> chord. You
>> >> could go via F major or Bb major or other possibilities, but they
>> >> easily sound bland and boring. I found that an effective way is
> to add
>> >> a B at 8/7 above A- to the D- minor chord so that it becomes
>> >> an utonal tetrad with the most unstable note being the B, which
> leads
>> >> very naturally to a C in a C major chord.
>> >>
>> >> Generally in this piece I chose to accept and embrace commas as a
>> >> valuable resource instead of being a problem. I think in general
> a
>> >> song has to either embrace commas or shy away from them -- with
> very
>> >> static pitches, shifting a pitch a comma all of a sudden can be
> very
>> >> distracting and unsettling.
>> >>
>> >> The timbre could be better, but I hacked together the
> composition tool
>> >> myself and it is very limited in many ways.
>> >>
>> >> Going to a different topic, I live in New York now so I would be
>> >> interested to know more
>> >> about the microtonal community in the area and perhaps also
> meeting some
>> >> people.
>> >>
>> >> Best,
>> >> Magnus Jonsson
>> >>
>> >
>> >
>> >
>> > ------------------------------------
>> >
>> > Yahoo! Groups Links
>> >
>> >
>> >
>> >
>>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗hfmlacerda <hfmlacerda@...>

🔗Carl Lumma <carl@...>

🔗Magnus Jonsson <jmagnusj@...>

Hi Jacob (and others),

Sorry it took such a long time, but here is a crude Sagittal sheet
rendition of the piece.

http://magnus.hcoop.net/music/files/utonal-seventh.pdf

For the interested, I produced this score by hacking together a
program to convert from my simple microtracker format to microabc
format and then I ran microabc to get the pdf.

The beams are obviously wrong, but my program is not smart enough
(yet) to partition them out correctly so they just extend for the
whole measure. I could have used no beams at all also but somehow it
was more compact with beams.

The third voice is not used, and the vertical order of the other
voices are reversed compared to common practice. I will fix this too
(eventually).

Perhaps some ABC guru can inform me how to put measure numbers on the
score also.

I am not sure if I am using Sagittal notation 100% correctly, but it
may help to know that I am trying to notate 53edo, and I am using
53edo as an approximation of 7-limit JI.

Jacob, please see also the answers to your questions below.

Magnus

Yep, that is a 10:7.

> I am not sure if I ever hear a voice move by a single comma - maybe
> once?

There is one place early in the melody where it goes from 21:16 to 4:3 via 5:4.

> And the melody line is mostly playing a just diatonic scale, with a couple 21/16s
> and a 35/32, and just one 10/9 also?

Yes, one 10/9 near the end.

> Although more 10/9s in the bass.

Yup.

> j

🔗Dave Keenan <d.keenan@...>

Hi Magnus,

Your use of Sagittal looks 100% fine to me.

My only suggestion is to put the text, "53edo" or even "53edo (as an
approximation of 7-limit JI)" at the beginning of the sheet, since the
Sagittal accidentals alone do not tell the reader this.

The basic meanings of /| and //| are respectively one and two 5-commas
(syntonic or didymus commas). So the reader needs to be told that it
is 53-EDO (or other temperament where the 5-comma and 7-comma are the
same size). But I expect you know this.

Beautifully done.

-- Dave Keenan

--- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...>
wrote:
> Sorry it took such a long time, but here is a crude Sagittal sheet
> rendition of the piece.
>
> http://magnus.hcoop.net/music/files/utonal-seventh.pdf
>
> For the interested, I produced this score by hacking together a
> program to convert from my simple microtracker format to microabc
> format and then I ran microabc to get the pdf.
...
> I am not sure if I am using Sagittal notation 100% correctly, but it
> may help to know that I am trying to notate 53edo, and I am using
> 53edo as an approximation of 7-limit JI.

🔗Magnus Jonsson <jmagnusj@...>

Thanks Dave for reviewing the score. I am sure that I will have more
Sagittal scores produced in the same way so the scores should
gradually get better as I fix little problems here and there.

Magnus

On Sat, Dec 13, 2008 at 7:20 PM, Dave Keenan <d.keenan@...> wrote:
> Hi Magnus,
>
> Your use of Sagittal looks 100% fine to me.
>
> My only suggestion is to put the text, "53edo" or even "53edo (as an
> approximation of 7-limit JI)" at the beginning of the sheet, since the
> Sagittal accidentals alone do not tell the reader this.
>
> The basic meanings of /| and //| are respectively one and two 5-commas
> (syntonic or didymus commas). So the reader needs to be told that it
> is 53-EDO (or other temperament where the 5-comma and 7-comma are the
> same size). But I expect you know this.
>
> Beautifully done.
>
> -- Dave Keenan
>
>
> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...>
> wrote:
>> Sorry it took such a long time, but here is a crude Sagittal sheet
>> rendition of the piece.
>>
>> http://magnus.hcoop.net/music/files/utonal-seventh.pdf
>>
>> For the interested, I produced this score by hacking together a
>> program to convert from my simple microtracker format to microabc
>> format and then I ran microabc to get the pdf.
> ...
>> I am not sure if I am using Sagittal notation 100% correctly, but it
>> may help to know that I am trying to notate 53edo, and I am using
>> 53edo as an approximation of 7-limit JI.
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

🔗Magnus Jonsson <jmagnusj@...>

Here is a new version of the score that should be more readable:

http://magnus.hcoop.net/music/files/us.pdf

Fixed in this version:
- proper beaming
- voices are in normal vertical order
- no unnecessary clef changes
- added measure numbers
- two measures per line

Still to be fixed:
- the bass should perhaps be notated using staccato instead of pauses.
I could detect 16th notes with 16th pauses right after them and note
them as 8th staccato notes instead, but this seems a bit inelegant so
I am reluctant.
- repeated parts of the song should be notated once and only once
instead of duplicated. I am not sure yet how to do this in a good way
as there are some tricky corner cases to consider.

/ Magnus

On Sat, Dec 13, 2008 at 8:12 PM, Magnus Jonsson <jmagnusj@...> wrote:
> Thanks Dave for reviewing the score. I am sure that I will have more
> Sagittal scores produced in the same way so the scores should
> gradually get better as I fix little problems here and there.
>
> Magnus
>
> On Sat, Dec 13, 2008 at 7:20 PM, Dave Keenan <d.keenan@...> wrote:
>> Hi Magnus,
>>
>> Your use of Sagittal looks 100% fine to me.
>>
>> My only suggestion is to put the text, "53edo" or even "53edo (as an
>> approximation of 7-limit JI)" at the beginning of the sheet, since the
>> Sagittal accidentals alone do not tell the reader this.
>>
>> The basic meanings of /| and //| are respectively one and two 5-commas
>> (syntonic or didymus commas). So the reader needs to be told that it
>> is 53-EDO (or other temperament where the 5-comma and 7-comma are the
>> same size). But I expect you know this.
>>
>> Beautifully done.
>>
>> -- Dave Keenan
>>
>>
>> --- In MakeMicroMusic@yahoogroups.com, "Magnus Jonsson" <jmagnusj@...>
>> wrote:
>>> Sorry it took such a long time, but here is a crude Sagittal sheet
>>> rendition of the piece.
>>>
>>> http://magnus.hcoop.net/music/files/utonal-seventh.pdf
>>>
>>> For the interested, I produced this score by hacking together a
>>> program to convert from my simple microtracker format to microabc
>>> format and then I ran microabc to get the pdf.
>> ...
>>> I am not sure if I am using Sagittal notation 100% correctly, but it
>>> may help to know that I am trying to notate 53edo, and I am using
>>> 53edo as an approximation of 7-limit JI.
>>
>>
>>
>>
>> ------------------------------------
>>
>> Yahoo! Groups Links
>>
>>
>>
>>
>