Awesome 14-tet piece

Just found this:

http://www.youtube.com/watch?v=m9NlHaWllwU&feature=related

It's actually in 7-tet, but the solo uses 14-tet as "chromatic" notes.

I'm not exactly sure how this works from a Rothenberg equivalence
class standpoint, but the other chain of 7 notes in 14 does function
very well as a set of "chromatic" notes, despite the fact that there's
7 of them. Either way this is awesome, and I now love neutral triads.

Just another reason why ones internalized map is so important -
neutral triads to me before always sounded ambiguous and dissonant,
and in this context they actually sound awesome. A blend of major and
minor at the same time, which ends up sounding "cool" or something.

Hope you all enjoy the find,
Mike

I agree this is quite fun and good and thanks for sharing. A good find. a little variation towards the end would had gone a long way.
all ET are MOS and i wouldn't worry about 7 out of 14. 7et is in the ball park of many african scales.
really after a few minutes though it always sounds artifical IMHO but you can throw that out know the source:).
I would rather hear this though than 12 ET on guitars in that area as it being closer to the actual music that preceded it.

/^_,',',',_ //^ /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/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 21/08/10 3:21 PM, Mike Battaglia wrote:
> Just found this:
>
> http://www.youtube.com/watch?v=m9NlHaWllwU&feature=related
>
> It's actually in 7-tet, but the solo uses 14-tet as "chromatic" notes.
>
> I'm not exactly sure how this works from a Rothenberg equivalence
> class standpoint, but the other chain of 7 notes in 14 does function
> very well as a set of "chromatic" notes, despite the fact that there's
> 7 of them. Either way this is awesome, and I now love neutral triads.
>
> Just another reason why ones internalized map is so important -
> neutral triads to me before always sounded ambiguous and dissonant,
> and in this context they actually sound awesome. A blend of major and
> minor at the same time, which ends up sounding "cool" or something.
>
> Hope you all enjoy the find,
> Mike
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
>

On Sat, Aug 21, 2010 at 9:12 PM, Kraig Grady <kraiggrady@...> wrote:
>
> I agree this is quite fun and good and thanks for sharing. A
> good find. a little variation towards the end would had gone a
> long way.

And some quantize, haha. But I still really liked it. I hear it as
some kind of blend of mavila and meantone or something. Or some kind
of meantone where the minor and major thirds become equivalent. Which
gives a whole new meaning to neutral triads - rather than them
sounding ambiguous and irritating, they now sound perfectly harmonious
(and double harmonious to me).

Basically what I'm saying is, this piece set insane color combinations
off in my head, and I'm trying to figure out why, haha.

> all ET are MOS and i wouldn't worry about 7 out of 14. 7et is in
> the ball park of many african scales.

Do ET's count as MOS? I thought it had to have exactly 2 sizes per
interval, or is it just 2 or less?

> really after a few minutes though it always sounds artifical
> IMHO but you can throw that out know the source:).
> I would rather hear this though than 12 ET on guitars in that
> area as it being closer to the actual music that preceded it.

What do you mean?

-Mike

Hi Mike~
yes ET's are considered a special form of MOS. there is no instance where the same number of steps produces more than two size intervals
the timbres are really good too.
Having worked with the first mavila, this scale lacks subtlety and doesn't sound like something a real person would tune up. It is the same situation when you have a timbre that is all the same a volume that is all the same or equally stepped. people find it artificial which is why they 'humanize" all these things. i don't know why scales would be not so inclined also.

In all my years of playing the mavila i do, i have never heard anyone say it didn't sound right.

But the Chopi tuning is closer to this tuning than 12 ET and think if they had been given the choice would have chosen the this. There are recordings out from Mavila collected by Hugh Tracy

/^_,',',',_ //^ /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/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 22/08/10 2:15 PM, Mike Battaglia wrote:
> On Sat, Aug 21, 2010 at 9:12 PM, Kraig Grady<kraiggrady@...> wrote:
>> I agree this is quite fun and good and thanks for sharing. A
>> good find. a little variation towards the end would had gone a
>> long way.
> And some quantize, haha. But I still really liked it. I hear it as
> some kind of blend of mavila and meantone or something. Or some kind
> of meantone where the minor and major thirds become equivalent. Which
> gives a whole new meaning to neutral triads - rather than them
> sounding ambiguous and irritating, they now sound perfectly harmonious
> (and double harmonious to me).
>
> Basically what I'm saying is, this piece set insane color combinations
> off in my head, and I'm trying to figure out why, haha.
>
>> all ET are MOS and i wouldn't worry about 7 out of 14. 7et is in
>> the ball park of many african scales.
> Do ET's count as MOS? I thought it had to have exactly 2 sizes per
> interval, or is it just 2 or less?
>
>> really after a few minutes though it always sounds artifical
>> IMHO but you can throw that out know the source:).
>> I would rather hear this though than 12 ET on guitars in that
>> area as it being closer to the actual music that preceded it.
> What do you mean?
>
> -Mike
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>
>

Love it! But completely agree with Kraig here:

> a little variation towards the end would had gone a
> long way.

JLMoriart has posted to the tuning list before. He's a fan
of the Milne/Sethares stuff -- I believe he was the first to
link to the VSTs that support the "dynamic tonality" stuff.

-C.

>On 21/08/10 3:21 PM, Mike Battaglia wrote:
>
>> Just found this:
>>
>> http://www.youtube.com/watch?v=m9NlHaWllwU&feature=related

We usually don't comment on compositional practices, but there is something about using an ostinato without varying it that gives the process away that I find can be distracting. People usually don't play this flat and relentless either.
A few periodic variations i think really make allot of difference, especially in referance to what ever is put on top of it.
I hope they keep doing more.

/^_,',',',_ //^ /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/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 22/08/10 4:18 PM, Carl Lumma wrote:
> Love it! But completely agree with Kraig here:
>
>> a little variation towards the end would had gone a
>> long way.
>

We usually don't comment on compositional practices, but there is something about using an ostinato without varying it that gives the process away that I find can be distracting. People usually don't play this flat and relentless either.
A few periodic variations i think really make allot of difference, especially in referance to what ever is put on top of it.
I hope they keep doing more.

/^_,',',',_ //^ /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/>

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

a momentary antenna as i turn to water
this evaporates - an island once again

On 22/08/10 4:18 PM, Carl Lumma wrote:
> Love it! But completely agree with Kraig here:
>
>> a little variation towards the end would had gone a
>> long way.
>

Good news to everybody then... it appears knowsur has been working on a mini-album for the last couple of months, and the whole thing is in 7 and 14-tet.

His beats are always banging, plus his melodies and sounds have something which easily appeal... Can't wait.

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:
>
> Just found this:
>
> http://www.youtube.com/watch?v=m9NlHaWllwU&feature=related
>
> It's actually in 7-tet, but the solo uses 14-tet as "chromatic" notes.
>
> I'm not exactly sure how this works from a Rothenberg equivalence
> class standpoint, but the other chain of 7 notes in 14 does function
> very well as a set of "chromatic" notes, despite the fact that there's
> 7 of them. Either way this is awesome, and I now love neutral triads.
>
> Just another reason why ones internalized map is so important -
> neutral triads to me before always sounded ambiguous and dissonant,
> and in this context they actually sound awesome. A blend of major and
> minor at the same time, which ends up sounding "cool" or something.
>
> Hope you all enjoy the find,
> Mike
>

Kraig wrote:

> We usually don't comment on compositional practices,

Using the royal we these days? :) -Carl

On Sun, Aug 22, 2010 at 8:22 AM, Kraig Grady <kraiggrady@...> wrote:
>
> We usually don't comment on compositional practices, but there
> is something about using an ostinato without varying it that
> gives the process away that I find can be distracting. People
> usually don't play this flat and relentless either.
> A few periodic variations i think really make allot of
> difference, especially in referance to what ever is put on top
> of it.
> I hope they keep doing more.

I liked it. It sounded to me like a video game soundtrack on
something. I feel like I'm playing Sonic the Hedgehog on acid or
something.

But really, this is my first time getting into 7 or 14-equal, and all
of the synesthetic colors in my head basically exploded and mixed
together, and I liked it. I've been using microtonality as a way to
get into more accuracy, or more complexity - like 31-tet as a
hyperchromatic approach to meantone for example - but from a meantone
perspective 7-equal is even more simple, and it's awesome.

But I would have used a quantizer or something on some of those chords...

-Mike

Hi Mike,

The man responsible for your synesthetic colour explosions just released 7 new tracks as an album (free dl too).

I know what you mean though, his music combined with the feel of 7-tet is so vivid. A bit trippy and futuristic in my opinion. Anyway you can get that album from http://split-notes.com/spnt004.php

For what it's worth my favorite tracks are OUCHI and HANERU. But the others are growing on me fast.

Regards,

Sean

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:
>
> I liked it. It sounded to me like a video game soundtrack on
> something. I feel like I'm playing Sonic the Hedgehog on acid or
> something.
>
> But really, this is my first time getting into 7 or 14-equal, and all
> of the synesthetic colors in my head basically exploded and mixed
> together, and I liked it. I've been using microtonality as a way to
> get into more accuracy, or more complexity - like 31-tet as a
> hyperchromatic approach to meantone for example - but from a meantone
> perspective 7-equal is even more simple, and it's awesome.
>
> But I would have used a quantizer or something on some of those chords...
>
> -Mike
>

On Tue, Sep 7, 2010 at 7:59 PM, sevishmusic <sevish@...> wrote:
>
> Hi Mike,
>
> The man responsible for your synesthetic colour explosions just released 7 new tracks as an album (free dl too).
>
> I know what you mean though, his music combined with the feel of 7-tet is so vivid. A bit trippy and futuristic in my opinion. Anyway you can get that album from http://split-notes.com/spnt004.php
>
> For what it's worth my favorite tracks are OUCHI and HANERU. But the others are growing on me fast.
>
> Regards,
>
> Sean

This looks so awesome. Gotta check this out. Thanks for letting me
know. Interesting how the concept of going DOWN the MOS structure
(i.e. cutting off the meantone fifth chain at 7 notes instead of 12)
hadn't occured to me before hearing this guy's stuff, as I'd been more
focused on going up to 19 and 31 notes.

-Mike

Awesome tracks - very PKD

Rich Duckworth

Lecturer in Music Technology

Department of Music

House 5

Trinity College

Dublin 2

Ireland

Tel 353 1 896 1500

It's the most devastating moment in a young mans life, when he quite reasonably says to himself, "I shall never play The Dane!"

--- On Wed, 8/9/10, sevishmusic <sevish@...> wrote:

From: sevishmusic <sevish@...>
Subject: Re: [MMM] Awesome 14-tet piece
To: MakeMicroMusic@yahoogroups.com
Date: Wednesday, 8 September, 2010, 0:59

Hi Mike,

The man responsible for your synesthetic colour explosions just released 7 new tracks as an album (free dl too).

I know what you mean though, his music combined with the feel of 7-tet is so vivid. A bit trippy and futuristic in my opinion. Anyway you can get that album from http://split-notes.com/spnt004.php

For what it's worth my favorite tracks are OUCHI and HANERU. But the others are growing on me fast.

Regards,

Sean

--- In MakeMicroMusic@yahoogroups.com, Mike Battaglia <battaglia01@...> wrote:

>

> I liked it. It sounded to me like a video game soundtrack on

> something. I feel like I'm playing Sonic the Hedgehog on acid or

> something.

>

> But really, this is my first time getting into 7 or 14-equal, and all

> of the synesthetic colors in my head basically exploded and mixed

> together, and I liked it. I've been using microtonality as a way to

> get into more accuracy, or more complexity - like 31-tet as a

> hyperchromatic approach to meantone for example - but from a meantone

> perspective 7-equal is even more simple, and it's awesome.

>

> But I would have used a quantizer or something on some of those chords...

>

> -Mike

>

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

Philip K Dick? -C.

Rich wrote:

>Awesome tracks - very PKD
>
>Rich Duckworth
>Lecturer in Music Technology
>Department of Music
>House 5
>Trinity College
>Dublin 2
>Ireland
>Tel 353 1 896 1500
>
>It's the most devastating moment in a young mans life, when he quite
>reasonably says to himself, "I shall never play The Dane!"
>
>--- On Wed, 8/9/10, sevishmusic <sevish@...> wrote:
>
>From: sevishmusic <sevish@...>
>Subject: Re: [MMM] Awesome 14-tet piece
>To: MakeMicroMusic@yahoogroups.com
>Date: Wednesday, 8 September, 2010, 0:59
>
>
>

It's what came to mind - specifically the bar scene in Total Recall (We can remember it for you wholesale)

--- On Wed, 8/9/10, Carl Lumma <carl@lumma.org> wrote:

From: Carl Lumma <carl@...>
Subject: Re: [MMM] Awesome 14-tet piece
To: MakeMicroMusic@yahoogroups.com
Date: Wednesday, 8 September, 2010, 18:22

Philip K Dick? -C.

Rich wrote:

>Awesome tracks - very PKD

>

>Rich Duckworth

>Lecturer in Music Technology

>Department of Music

>House 5

>Trinity College

>Dublin 2

>Ireland

>Tel 353 1 896 1500

>

>It's the most devastating moment in a young mans life, when he quite

>reasonably says to himself, "I shall never play The Dane!"

>

>--- On Wed, 8/9/10, sevishmusic <sevish@...> wrote:

>

>From: sevishmusic <sevish@...>

>Subject: Re: [MMM] Awesome 14-tet piece

>To: MakeMicroMusic@yahoogroups.com

>Date: Wednesday, 8 September, 2010, 0:59

>

>

>

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