Yahoo Tuning Groups Ultimate Backup makemicromusic A new piece in 72 EDO

I'm listening to it now and I'm really enjoying it. It's something new to
me. There are a lot of strange and exotic sonorities in this piece. While
from my perspective, it lacks the immediate emotional "tear at the
heartstrings" impact of 5-limit music, it instead has a much more subtle and
cerebral sense of well-being to it. Maybe that's the hallmark of 11-limit
music as opposed to 5-limit music.

I really like this, I'm going to put it on repeat as I sleep tonight and see
if I come to an epic epiphany about the nature of music. Well... hopefully
:D

-Mike

On Mon, Dec 28, 2009 at 1:58 PM, prentrodgers <prentrodgers@...>wrote:

>
>
> I've posted a new piece I've been working on lately on my blog.
> http://bumpermusic.blogspot.com/2009/12/winding-out-to-pacific-take-17.html
> or http://tiny.cc/7pKlK
>
> It's based on fourth chords derived from four chords of the Partch tonality
> diamond to the 15 limit, approximated in 72 EDO.
>
> Prent Rodgers
>
>
>

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

🔗Danny Wier <dawiertx@...>

This sounds different than the other work of yours I've heard, and I really like it (not that your other stuff is bad). With the changing tempo and prevalence of metallophones, I got a gamelan-type feel, only with many more notes per octave. But it has your signature JI sound, or near-JI in this case.

I also thought of something: with tuned metallic percussion and their uneven harmonics, you can get some interesting effects when playing in something like pure JI or 72-edo. It's like those harmonics "weave" themselves into a "harmonic fabric" of frequencies, and of course you got all those combination tones. It's an art I'm far from mastering, sadly.

~D.

Date: Monday, December 28, 2009, 12:58 PM

I've posted a new piece I've been working on lately on my blog. http://bumpermusic. blogspot. com/2009/ 12/winding- out-to-pacific- take-17.html

or http://tiny. cc/7pKlK

It's based on fourth chords derived from four chords of the Partch tonality diamond to the 15 limit, approximated in 72 EDO.

Prent Rodgers

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

🔗Mike Battaglia <battaglia01@...>

By the way, Prent, do you have a score or MIDI for this? I'm struggling to
figure out what some of the chords are. For example, at about 6 seconds, in
the low register (sort of near an A concert pitch) there is a low and
ominous drone that comes up, but it doesn't sound anything like the
instruments you're using. Is that a phantom pitch that arises from your
playing 8:9:10:11 or something like that?

I've been trying to figure out how to get that effect for some time now, and
you've nailed it :D

-Mike

On Wed, Dec 30, 2009 at 7:15 AM, Danny Wier <dawiertx@...> wrote:

>
>
> This sounds different than the other work of yours I've heard, and I really
> like it (not that your other stuff is bad). With the changing tempo and
> prevalence of metallophones, I got a gamelan-type feel, only with many more
> notes per octave. But it has your signature JI sound, or near-JI in this
> case.
>
> I also thought of something: with tuned metallic percussion and their
> uneven harmonics, you can get some interesting effects when playing in
> something like pure JI or 72-edo. It's like those harmonics "weave"
> themselves into a "harmonic fabric" of frequencies, and of course you got
> all those combination tones. It's an art I'm far from mastering, sadly.
>
> ~D.
>
> Date: Monday, December 28, 2009, 12:58 PM
>
>
>
>
> I've posted a new piece I've been working on lately on my blog.
> http://bumpermusic. blogspot. com/2009/ 12/winding- out-to-pacific-
> take-17.html
>
> or http://tiny. cc/7pKlK
>
> It's based on fourth chords derived from four chords of the Partch tonality
> diamond to the 15 limit, approximated in 72 EDO.
>
> Prent Rodgers
>
> [Non-text portions of this message have been removed]
>
>
>

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

🔗prentrodgers <prentrodgers@...>

Mike, Danny, Ozan,
Thanks for listening. The pitches are described in the blog post.
http://bumpermusic.blogspot.com/2009/12/winding-out-to-pacific-take-17.html

Here's another way to think of it.

I generate four 8 note scales from the tonality diamond, what I call sub-minor, minor, major, and supermajor, as shown on the diamond in the blog post. I then pick out a fourth chord from each scale, starting at the 7th degree of each scale. I pick fourths that are close to 30 72EDO steps, or 60 steps for two fourths. For example, in C major, think of a chord made up of Bb, E, Ab, C, G, B, F#, Bb, E. The exact notes are listed in Sagittal notation in a graphic on the blog post.

Then I transpose each scale so that the third scale degree is in common for each.

Here are the scale degrees of the fourth chords:

subminor 726 158 473
minor 736 251 473
major 736 251 472
supermajor 726 148 372

The prominent bass note is the 7th degree of the scale, the 8:7 in major. This is what you hear on the bottom as a drone. It's made louder cause I like loud bass. I use finger piano and sine wave samples for the low notes.

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:
>
> By the way, Prent, do you have a score or MIDI for this? I'm struggling to
> figure out what some of the chords are. For example, at about 6 seconds, in
> the low register (sort of near an A concert pitch) there is a low and
> ominous drone that comes up, but it doesn't sound anything like the
> instruments you're using. Is that a phantom pitch that arises from your
> playing 8:9:10:11 or something like that?
> > >
> >
> > I've posted a new piece I've been working on lately on my blog.
> > http://bumpermusic. blogspot. com/2009/ 12/winding- out-to-pacific-
> > take-17.html
> >
> > or http://tiny. cc/7pKlK
> >
> > It's based on fourth chords derived from four chords of the Partch tonality
> > diamond to the 15 limit, approximated in 72 EDO.
> >
> > Prent Rodgers
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>

🔗Carl Lumma <carl@...>

🔗jonszanto <jszanto@...>

Boys,

--- In MakeMicroMusic@yahoogroups.com, Carl Lumma <carl@...> wrote:
>
> Prent wrote:
>
> >It's made louder cause I like loud bass.
>
> A man after my own heart! -Carl
>

Count my heart right in line after Carl. I have to *really* hold myself back during engineering/playing! :)

Another nice one, Prent. Even though it is still (somewhat/mainly) oriented to your tuned percussion groups, it has much less of your usual 'bubbly' textures. In fact, that pic on the blog seems to look a lot like what it sounds like to me.

Glad you are still at it...

Cheers,
Jon

🔗Jay Rinkel <jrinkel@...>

Prent,

I also enjoyed this piece. I have one question that I hope you will
have the time to answer: You approximate Partch's JI scale with 72 EDO.
Is there a reason why you don't use the exact ratios themselves in your
piece?

Best -
Jay

On Mon, 2009-12-28 at 18:58 +0000, prentrodgers wrote:
>
> I've posted a new piece I've been working on lately on my blog.
> http://bumpermusic.blogspot.com/2009/12/winding-out-to-pacific-take-17.html
> or http://tiny.cc/7pKlK
>
> It's based on fourth chords derived from four chords of the Partch
> tonality diamond to the 15 limit, approximated in 72 EDO.
>
> Prent Rodgers
>
>
>
>
>

🔗prentrodgers <prentrodgers@...>

Jay,
Thanks for listening. I used to use the just intonation scales directly, but they limited my flexibility. For example, the diamond produces the four scales I wanted to use. But the common note is the first degree of the scale, and I wanted the third degree of each scale to be in common. With 72 EDO I can transpose each chord until whatever note I want is in common across the scales.

For example, the 72 EDO approximations of the four scales, what I call sub-minor, minor, major, and supermajor, can be written as 8 note scales. The chords are arranged by determining which scale degree is where in the chord like this:

SubMinor scale 7 2 6 1 5 8 4 7 3
Minor scale 7 3 6 2 5 1 4 7 3
Major scale 7 3 6 2 5 1 4 7 3
SupMajor scale 7 2 6 1 4 8 3 7 2

Where the 7th note in the scale is the first note in the chord, the 2nd degree is the second note, the 6th degree is the third note, and so on.

I can represent these scales in 72 EDO using the following table. In this table, the first degree of the scale is note 0 in 72 EDO. Zero is the first degree of each of the four scales.

SubMinor scale 7 2 6 1 5 8 4 7 3
SubMinor 72 EDO 0 53 8 42 0 30 63 23 53 16

Minor scale 7 3 6 2 5 1 4 7 3
Minor 72 EDO 0 56 19 49 9 42 0 30 56 19

Major scale 7 3 6 2 5 1 4 7 3
Major 72 EDO 0 58 23 50 12 42 0 33 58 23

SupMajor scale 7 2 6 1 4 8 3 7 2
SupMajor 72 EDO 0 51 12 42 0 26 61 19 51 12

But I don't want the 1st scale degree in common; I want the third degree in common. To do that in 72 EDO, I just need to add a number to each 72EDO to make whatever note in common across the scales.

SubMinor scale 7 2 6 1 5 8 4 7 3
SubMinor 72 EDO 0 53 8 42 0 30 63 23 53 16
SubMinor trans 26 7 34 68 26 56 17 49 7 42

Minor scale 7 3 6 2 5 1 4 7 3
Minor 72 EDO 0 56 19 49 9 42 0 30 56 19
Minor transpos 23 7 42 0 32 65 23 53 7 42

Major scale 7 3 6 2 5 1 4 7 3
Major 72 EDO 0 58 23 50 12 42 0 33 58 23
Major transpos 19 5 42 69 31 61 19 52 5 42

SupMajor scale 7 2 6 1 4 8 3 7 2
SupMajor 72 EDO 0 51 12 42 0 26 61 19 51 12
SuperMajor tra 16 67 28 58 16 42 5 35 67 28

Now the third degree in each scale is in common: 42. Well, not exactly. The fourth degree of the supermajor scale is the "third" in the triadic sense.

I became frustrated with the cumbersome nature of transpositions in the just system, and the simplicity of 72 EDO to modulate. It's close enough to just for my purposes.

Prent Rodgers

--- In MakeMicroMusic@yahoogroups.com, Jay Rinkel <jrinkel@...> wrote:
>
> Prent,
>
> I also enjoyed this piece. I have one question that I hope you will
> have the time to answer: You approximate Partch's JI scale with 72 EDO.
> Is there a reason why you don't use the exact ratios themselves in your
> piece?
>
> Best -
> Jay
> >
> > I've posted a new piece I've been working on lately on my blog.
> > or http://tiny.cc/7pKlK
> >

A new piece in 72 EDO

🔗prentrodgers <prentrodgers@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Mike Battaglia <battaglia01@...>

🔗Danny Wier <dawiertx@...>

🔗Mike Battaglia <battaglia01@...>

🔗prentrodgers <prentrodgers@...>

🔗Carl Lumma <carl@...>

🔗jonszanto <jszanto@...>

🔗Jay Rinkel <jrinkel@...>

🔗prentrodgers <prentrodgers@...>