Better Sound Quality live videos of Lyre Guitar: Stoats and Hamster

http://www.youtube.com/watch?v=Sa_i78caj4Y
http://www.youtube.com/watch?v=8uWm1Ywpz14

Some of you may not approve because they're in quarter comma meantone, which isn't very adventurous by the standards of most of the people on this forum. It isn't my camera (my camera produces videos of much lower quality), but hopefully another time I'll be able to record a performance in 7 edo or something.

It is my intention to produce popular music that stretches the limits of what is commonly acceptable with regard to harmonies and melodic lines. I have found that quarter comma meantone, pythagorean intonation, 12 note just intonation with a 5 limit and 7 edo seem to be the most acceptable non 12 edo intonations for my typical audiences out of those I have tried. If anyone could suggest other intonations that might also be acceptable, but stretch the audience's tastes further, I would be grateful. Bear in mind that it is easier for me to make and play guitar fingerboards for equal temperaments and linear intonations than it is for me to make them for intonations with many different intervals in them. On the other hand, I could change the way I am approaching this and go for different combinations of strings or numbers of strings, or go for baglama style fretboards. Or maybe even sitar like instruments. It's just easier for me to play guitar like instruments in that I'm used to it and I don't have to change what I'm doing much. I usually play each concert in only one intonation, so a song may be in 7 edo one night, pythagorean intonation another night and quarter comma meantone another night again. I also do improvisations on a subject given my the audience.

Interesting pieces - I think the idea of performing the same pieces in a
variety of tunigns is an interesting proposition. Perhaps unique as well.

On Sun, May 23, 2010 at 1:55 PM, Mark <mark.barnes3@...> wrote:

>
>
> http://www.youtube.com/watch?v=Sa_i78caj4Y
> http://www.youtube.com/watch?v=8uWm1Ywpz14
>
> Some of you may not approve because they're in quarter comma meantone,
> which isn't very adventurous by the standards of most of the people on this
> forum. It isn't my camera (my camera produces videos of much lower quality),
> but hopefully another time I'll be able to record a performance in 7 edo or
> something.
>
> It is my intention to produce popular music that stretches the limits of
> what is commonly acceptable with regard to harmonies and melodic lines. I
> have found that quarter comma meantone, pythagorean intonation, 12 note just
> intonation with a 5 limit and 7 edo seem to be the most acceptable non 12
> edo intonations for my typical audiences out of those I have tried. If
> anyone could suggest other intonations that might also be acceptable, but
> stretch the audience's tastes further, I would be grateful. Bear in mind
> that it is easier for me to make and play guitar fingerboards for equal
> temperaments and linear intonations than it is for me to make them for
> intonations with many different intervals in them. On the other hand, I
> could change the way I am approaching this and go for different combinations
> of strings or numbers of strings, or go for baglama style fretboards. Or
> maybe even sitar like instruments. It's just easier for me to play guitar
> like instruments in that I'm used to it and I don't have to change what I'm
> doing much. I usually play each concert in only one intonation, so a song
> may be in 7 edo one night, pythagorean intonation another night and quarter
> comma meantone another night again. I also do improvisations on a subject
> given my the audience.
>
>
>

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

--- In MakeMicroMusic@yahoogroups.com, Chris Vaisvil <chrisvaisvil@...> wrote:
>
> Interesting pieces - I think the idea of performing the same pieces in a
> variety of tunigns is an interesting proposition. Perhaps unique as well.
>
Mark: It makes things a lot easier on stage and I enjoy it. Often I'll compose a song in one intonation and end up recording it in another (for example the intro and verse of Skeleton Key were originally composed in 9 edo but the version on the album is in pythagorean intonation (apart from the lead intro, which is still in 9edo) and I often perform it in Quarter Comma Meantone or 7 edo. I changed it from 9 edo to pythagorean because I thought my audience would find the fifths of 9 edo too flat for their taste)

I also enjoy taking pop songs, such as If You Were A Sailboat (By Mike Batt. I learned it from Katie Melua's album Pictures), Ruby Tuesday (The Rolling Stones) and House Of The Rising Sun and trying playing and singing them in different intonations, particularly 10 edo and 7 edo, though I sometime try it with others such as 9 edo. I usually just play the chords on guitar in the new intonation and try to sing the melody. I find it very challenging. It forces me to really listen and I think it improves my ability to sing in pitch and also to improvise.

Another thing I like is to take classical guitar pieces and try playing them in different intonations, such as a Study In E (I forget the Opus number) by Fernando Sor played in 7 edo.

Here's my song Killer Whale in 2 different Intonations:
Quarter Comma Meantone:
http://www.youtube.com/watch?v=AF1ya6zwx_s
7 edo:
http://www.youtube.com/watch?v=jH5DItF7KnE
The Quarter Comma is not quite as I'd like in that it uses a major chord with a wolf third and a wolf 5th, though only once and right at the end. This would be corrected if I had played it in E instead of A or used a fretboard with a E flat to B flat wolf fifth instead of B flat to F.

Mark>"Here's my song Killer Whale in 2 different Intonations:
Quarter Comma Meantone:
http://www.youtube.com/watch?v=AF1ya6zwx_s
7 edo:
http://www.youtube.com/watch?v=jH5DItF7KnE"

Bizarre...this is one of those odd cases where the 7TET version (at least to me) actually sounds more confident and coherent than the quarter comma. Which in theory you wouldn't think it should be...but I'm not going to take theory over my ears' obvious response.

>"The Quarter Comma is not quite as I'd like in that it uses a major chord with a wolf third and a wolf 5th, though only once and right at the
end."
Pardon the newbie question...but doesn't quarter comma mean-tone have the feature of all dyads being within a 1/4 comma of perfect intervals (and, if so, how on earth do you get a "wolf" fifth, for example)?

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

Brilliant as always. 7-ET all the way! -Carl

>Here's my song Killer Whale in 2 different Intonations:
>Quarter Comma Meantone:
> http://www.youtube.com/watch?v=AF1ya6zwx_s
>7 edo:
> http://www.youtube.com/watch?v=jH5DItF7KnE
>The Quarter Comma is not quite as I'd like in that it uses a major
>chord with a wolf third and a wolf 5th, though only once and right at
>the end. This would be corrected if I had played it in E instead of A
>or used a fretboard with a E flat to B flat wolf fifth instead of
>B flat to F.
>