New 17 ET piano piece

http://micro.soonlabel.com/17-ET/daily20090901-piano-17et-the-pond.mp3

I tried to play a little more attention to melody. I found that real speed sounded the best though a tad slow. I need to increase my vocabulary of 17 ET - the key of modulation is a bit abrupt.

--- In MakeMicroMusic@yahoogroups.com, "vaisvil" <chrisvaisvil@...> wrote:
>
> http://micro.soonlabel.com/17-ET/daily20090901-piano-17et-the-pond.mp3
>
> I tried to play a little more attention to melody. I found that real
> speed sounded the best though a tad slow. I need to increase my
> vocabulary of 17 ET - the key of modulation is a bit abrupt.
>

Hehe - it sounds as if you carefully avoided all weird intervals of 17ET... Quite harmonious, even (a little surprisingly) the chords with major character. OTOH, it does not sound very "microtonal". I tend to have the same problem... And for my taste, the modulations could be a good deal more "abrupt". You can get funny effects when modulating to distant keys - since in 17ET there are larger distances on the circle of fifths...
--
Hans Straub

Well, yes, I guess I did avoid those intervals. My goal is to work them in
via functional usage at some point in the future once I gain some more
facility with the tuning in a more consonant manner. I hope this is not
objectionable for postings here.

And this is why I'm doing this:

Most people I know who do not write microtonal music find the typical
"upfront" microtonal piece objectionable and stop listening quite quickly.
They perceive it as ugly as much the same a great deal of contemporary
classical music is condemned. (Oddly enough the visual arts do not suffer in
this way beyond some ill defined level of abstraction.)

So what I want to do is find a way to "work in" the "extra" intervals that
is more appealing to more people.

I hope this is not objectionable to the group.

=> Hans - can I post your observation and my response to my blog @
xenharmonic?

Chris

On Fri, Sep 4, 2009 at 7:49 AM, hstraub64 <straub@...> wrote:

>
>
> --- In MakeMicroMusic@yahoogroups.com <MakeMicroMusic%40yahoogroups.com>,
> "vaisvil" <chrisvaisvil@...> wrote:
> >
> > http://micro.soonlabel.com/17-ET/daily20090901-piano-17et-the-pond.mp3
> >
> > I tried to play a little more attention to melody. I found that real
> > speed sounded the best though a tad slow. I need to increase my
> > vocabulary of 17 ET - the key of modulation is a bit abrupt.
> >
>
> Hehe - it sounds as if you carefully avoided all weird intervals of 17ET...
> Quite harmonious, even (a little surprisingly) the chords with major
> character. OTOH, it does not sound very "microtonal". I tend to have the
> same problem... And for my taste, the modulations could be a good deal more
> "abrupt". You can get funny effects when modulating to distant keys - since
> in 17ET there are larger distances on the circle of fifths...
> --
> Hans Straub
>
>
>

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

--- In MakeMicroMusic@yahoogroups.com, Chris Vaisvil <chrisvaisvil@...> wrote:
>
> Well, yes, I guess I did avoid those intervals. My goal is to work
> them in via functional usage at some point in the future once I
> gain some more facility with the tuning in a more consonant manner.
> I hope this is not objectionable for postings here.
>

Why should it?

> And this is why I'm doing this:
>
> Most people I know who do not write microtonal music find the
> typical "upfront" microtonal piece objectionable and stop listening
> quite quickly. They perceive it as ugly as much the same a great
> deal of contemporary classical music is condemned. (Oddly enough
> the visual arts do not suffer in this way beyond some ill defined
> level of abstraction.)
>
> So what I want to do is find a way to "work in" the "extra"
> intervals that is more appealing to more people.
>

Yes, about this is what I am doing, too - not necessarily to make it more appealing to more people but rather to make it more appealing to myself (I am in many aspects like the persons that you described above, although contemporary classical music has started to leave one mark or two on me, too).

Here, BTW, is an example of how I try to do it in 17ET, with modulations to distant keys, as I described.

https://share.ols.inode.at/DTDOKMEVIAVW02R4JP9J1UNAVAC6QHJ5AWTUJ8Q2

> => Hans - can I post your observation and my response to my blog @
> xenharmonic?
>

Sure!
--
Hans Straub

I like it - especially the blues influence!

It would go well I think as a drum + brass ensemble too. (but I like that
format so I might be prejudiced )

Ok.... so this is direct modulation and modulation via chromatic
descent/ascent - so I guess here the destination interval from the starting
point is the important consideration to make it work?

Yes, about this is what I am doing, too - not necessarily to make it more
> appealing to more people but rather to make it more appealing to myself (I
> am in many aspects like the persons that you described above, although
> contemporary classical music has started to leave one mark or two on me,
> too).
>
> Here, BTW, is an example of how I try to do it in 17ET, with modulations to
> distant keys, as I described.
>
> https://share.ols.inode.at/DTDOKMEVIAVW02R4JP9J1UNAVAC6QHJ5AWTUJ8Q2
>
> > => Hans - can I post your observation and my response to my blog @
> > xenharmonic?
> >
>
> Sure!
> --
> Hans Straub
>
>
>

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

--- In MakeMicroMusic@yahoogroups.com, Chris Vaisvil <chrisvaisvil@...> wrote:
>
> I like it - especially the blues influence!
>
> It would go well I think as a drum + brass ensemble too. (but I like
> that format so I might be prejudiced )
>

Hehe - might be an idea -) Thanks for your comment.

> Ok.... so this is direct modulation and modulation via chromatic
> descent/ascent - so I guess here the destination interval from the starting point is the important consideration to make it work?
>

Well, in this concrete case it's hardly modulations, it is rather little shock effects via playing suddenly half a measure in another key. As for modulations generally, I usually take Schönberg's modulation model as a base - a "neutral" phase with notes that are common in the old and the new key, a "fundamental step" where the old key is left, and a cadence to fix the new key, "cadence" here in a more general meaning as a phrase that uniquely fixes a key, typically a sequence of notes/chords that cannot be played in another key. Of course, when the distance of the keys is high, finding common notes can become difficult...
--
Hans Straub