The first piece ever produced in 11-EDO?

Hi everyone!

This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?

I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3

I hope you enjoy listening to this microtonal historical event as much as I did making it.

--George

On Sat, Feb 26, 2011 at 11:43 PM, gdsecor <gdsecor@...> wrote:
>
> Hi everyone!
>
> This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
>
> I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>
> I hope you enjoy listening to this microtonal historical event as much as I did making it.

Very eerie! I like it. I will say, though, that while 11-EDO has a
reputation for being The Worst Equal Temperament Ever, it makes for a
fairly decent 2.7.9.11 subgroup temperament, with a fairly decent
4:7:9:11 tetrad. I've been wanting to write a piece in it for a while
now...

-Mike

Ah, finally, some chip-tune like microtonality from the Old-School
greats. Dear George, I like this very much! You know that I too have an
11-EDO composition in my website, right? It's named "Icicle Caverns". In
case you haven't listened (and my apologies if I forgot in case you
listened), you can hear it here:

http://www.ozanyarman.com/musics.html

Cordially,
Oz.

--

✩ ✩ ✩
www.ozanyarman.com

gdsecor wrote:
> Hi everyone!
>
> This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
>
> I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>
> I hope you enjoy listening to this microtonal historical event as much as I did making it.
>
> --George
>
>
>

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

Awesome! That's some good "street noise" there, George! Could have fooled me into thinking it was a "lost" etude of Blackwood's!

Good proof-of-concept: one of the most pleasing "atonal" pieces I've ever heard. Thank you for taking the trouble to digitize the old reel-to-reel recording!

-Igs

--- In MakeMicroMusic@yahoogroups.com, "gdsecor" <gdsecor@...> wrote:
>
>
> Hi everyone!
>
> This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
>
> I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>
> I hope you enjoy listening to this microtonal historical event as much as I did making it.
>
> --George
>

I love the synth vibrato 2:17 and after. Very exciting piece - especially in
the context of 1970!!

It, just doesn't sound "atonal" - actually sounds quite organized and
directed to me. I think because of the of the opening motive. Or perhaps my
hearing just that wacked :-)

Chris

On Sat, Feb 26, 2011 at 11:43 PM, gdsecor <gdsecor@...> wrote:

>
>
>
> Hi everyone!
>
> This is an experiment I did in 1970, just for the fun of it. Since so many
> people have been creating atonal music using 12-equal, which (as everyone
> here knows) is not really very suitable for that sort of thing, why not use
> instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
> contrast, in which no interval would tend to resolve to any other interval
> (except the unison and octave)?
>
> I used a retuned electronic organ and an open-reel tape deck, overdubbing
> one voice at a time (a total of six times, if I remember correctly) to
> record an improvisation that may be the first piece ever produced in 11-EDO.
> Here's a sound file of the recording:
> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>
> I hope you enjoy listening to this microtonal historical event as much as I
> did making it.
>
> --George
>
>
>

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

I concur. Doesn't sound atonal to me neither.

Oz.

--

✩ ✩ ✩
www.ozanyarman.com

Chris Vaisvil wrote:
> I love the synth vibrato 2:17 and after. Very exciting piece - especially in
> the context of 1970!!
>
> It, just doesn't sound "atonal" - actually sounds quite organized and
> directed to me. I think because of the of the opening motive. Or perhaps my
> hearing just that wacked :-)
>
> Chris
>
> On Sat, Feb 26, 2011 at 11:43 PM, gdsecor<gdsecor@...> wrote:
>
>>
>> Hi everyone!
>>
>> This is an experiment I did in 1970, just for the fun of it. Since so many
>> people have been creating atonal music using 12-equal, which (as everyone
>> here knows) is not really very suitable for that sort of thing, why not use
>> instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
>> contrast, in which no interval would tend to resolve to any other interval
>> (except the unison and octave)?
>>
>> I used a retuned electronic organ and an open-reel tape deck, overdubbing
>> one voice at a time (a total of six times, if I remember correctly) to
>> record an improvisation that may be the first piece ever produced in 11-EDO.
>> Here's a sound file of the recording:
>> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>>
>> I hope you enjoy listening to this microtonal historical event as much as I
>> did making it.
>>
>> --George
>>
>>
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

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

Hi Oz,

Yes, I downloaded Icicle Caverns about a year ago and liked it well enough to keep it. The middle portion in particular has the same sort of eerie quality about which Mike B. commented in my improvised piece. 11-EDO is not one of my favorite tunings, but you made a very nice song -- oops, I meant piece ;-) -- with it.

--George

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Ah, finally, some chip-tune like microtonality from the Old-School
> greats. Dear George, I like this very much! You know that I too have an
> 11-EDO composition in my website, right? It's named "Icicle Caverns". In
> case you haven't listened (and my apologies if I forgot in case you
> listened), you can hear it here:
>
> http://www.ozanyarman.com/musics.html
>
> Cordially,
> Oz.
>
> --
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
> gdsecor wrote:
> > Hi everyone!
> >
> > This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
> >
> > I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
> > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> >
> > I hope you enjoy listening to this microtonal historical event as much as I did making it.
> >
> > --George
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>

Thanks, Igs.

On listening to it again, I'm still amazed that 6 independent voices could result in such a thick texture; it sounds like at least a dozen different players warming up before a concert, enough "street noise" to wake up the "city of the asleep." ;-)

If I had been able to do this with live musicians playing 11-EDO acoustic instruments, I would have given each player only a bare-bones part containing the 6-measure (or so) fugal theme, the inversion of that same theme (for use later on the piece), and a few motifs to use during the middle portion. I would just have the conductor cue the players in one at a time at the beginning, then let the piece develop pretty much on its own as the various musicians interact with one another (transposing the them as they wished); after a time the conductor would give an indication that it was time to bring it to an end. At least this is what I was thinking when I played the various parts.

Anyway, glad you liked it!

--George

--- In MakeMicroMusic@yahoogroups.com, "cityoftheasleep" <igliashon@...> wrote:
>
> Awesome! That's some good "street noise" there, George! Could have fooled me into thinking it was a "lost" etude of Blackwood's!
>
> Good proof-of-concept: one of the most pleasing "atonal" pieces I've ever heard. Thank you for taking the trouble to digitize the old reel-to-reel recording!
>
> -Igs
>
> --- In MakeMicroMusic@yahoogroups.com, "gdsecor" <gdsecor@> wrote:
> >
> >
> > Hi everyone!
> >
> > This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
> >
> > I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
> > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> >
> > I hope you enjoy listening to this microtonal historical event as much as I did making it.
> >
> > --George
> >
>

Hi Chris,

This wasn't done on a real synth! It was actually a GEM (General Electro Music, Italian-made) portable combo organ that I purchased for playing gigs. It had 12 variable inductances that simultaneously tuned all the octaves of each chromatic note, and the tuning range of each note was very generous: something like +/- a minor 3rd. I added a couple of potentiometers to control (and moderate) the amount of reverb and the amplitude of the vibrato, which better enabled me to simulate orchestral instruments. Since I laid the voices down one track at a time, I was able to control the volume of each voice independently with the volume pedal.

You're right in thinking that it's not strictly atonal: the repeating tones at the beginning of the theme tend to suggest a key center, which I repeated in a couple of the successive voices.

I'll need to cut this short now. The weather is turning bad, and the lights started flickering. The power may go off shortly.

Thanks for listening!

--George

--- In MakeMicroMusic@yahoogroups.com, Chris Vaisvil <chrisvaisvil@...> wrote:
>
> I love the synth vibrato 2:17 and after. Very exciting piece - especially in
> the context of 1970!!
>
> It, just doesn't sound "atonal" - actually sounds quite organized and
> directed to me. I think because of the of the opening motive. Or perhaps my
> hearing just that wacked :-)
>
> Chris
>
> On Sat, Feb 26, 2011 at 11:43 PM, gdsecor <gdsecor@...> wrote:
>
> >
> >
> >
> > Hi everyone!
> >
> > This is an experiment I did in 1970, just for the fun of it. Since so many
> > people have been creating atonal music using 12-equal, which (as everyone
> > here knows) is not really very suitable for that sort of thing, why not use
> > instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
> > contrast, in which no interval would tend to resolve to any other interval
> > (except the unison and octave)?
> >
> > I used a retuned electronic organ and an open-reel tape deck, overdubbing
> > one voice at a time (a total of six times, if I remember correctly) to
> > record an improvisation that may be the first piece ever produced in 11-EDO.
> > Here's a sound file of the recording:
> > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> >
> > I hope you enjoy listening to this microtonal historical event as much as I
> > did making it.
> >
> > --George
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>

Wonderful, thanks!

Would you say 11-EDO is a "macro-tonal" tuning? I have a good mind to
revive the "macrotonality" concept in the case of <12 tuning schemes.

Oz.

--

✩ ✩ ✩
www.ozanyarman.com

gdsecor wrote:
> Hi Oz,
>
> Yes, I downloaded Icicle Caverns about a year ago and liked it well enough to keep it. The middle portion in particular has the same sort of eerie quality about which Mike B. commented in my improvised piece. 11-EDO is not one of my favorite tunings, but you made a very nice song -- oops, I meant piece ;-) -- with it.
>
> --George
>
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman<ozanyarman@...> wrote:
>> Ah, finally, some chip-tune like microtonality from the Old-School
>> greats. Dear George, I like this very much! You know that I too have an
>> 11-EDO composition in my website, right? It's named "Icicle Caverns". In
>> case you haven't listened (and my apologies if I forgot in case you
>> listened), you can hear it here:
>>
>> http://www.ozanyarman.com/musics.html
>>
>> Cordially,
>> Oz.
>>
>> --
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>>
>>
>> gdsecor wrote:
>>> Hi everyone!
>>>
>>> This is an experiment I did in 1970, just for the fun of it. Since so many people have been creating atonal music using 12-equal, which (as everyone here knows) is not really very suitable for that sort of thing, why not use instead a tuning (such as 11-equal) with a very low consonance-to-dissonance contrast, in which no interval would tend to resolve to any other interval (except the unison and octave)?
>>>
>>> I used a retuned electronic organ and an open-reel tape deck, overdubbing one voice at a time (a total of six times, if I remember correctly) to record an improvisation that may be the first piece ever produced in 11-EDO. Here's a sound file of the recording:
>>> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>>>
>>> I hope you enjoy listening to this microtonal historical event as much as I did making it.
>>>
>>> --George
>>>
>>>
>>>
>> [Non-text portions of this message have been removed]
>>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

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

This explains why I like it so much compared to "digital novelties" that
are so dry, cold, and insipid in comparison. We need more suchlike
livelier endeavours!

Oz.

--

✩ ✩ ✩
www.ozanyarman.com

gdsecor wrote:
> Hi Chris,
>
> This wasn't done on a real synth! It was actually a GEM (General Electro Music, Italian-made) portable combo organ that I purchased for playing gigs. It had 12 variable inductances that simultaneously tuned all the octaves of each chromatic note, and the tuning range of each note was very generous: something like +/- a minor 3rd. I added a couple of potentiometers to control (and moderate) the amount of reverb and the amplitude of the vibrato, which better enabled me to simulate orchestral instruments. Since I laid the voices down one track at a time, I was able to control the volume of each voice independently with the volume pedal.
>
> You're right in thinking that it's not strictly atonal: the repeating tones at the beginning of the theme tend to suggest a key center, which I repeated in a couple of the successive voices.
>
> I'll need to cut this short now. The weather is turning bad, and the lights started flickering. The power may go off shortly.
>
> Thanks for listening!
>
> --George
>
> --- In MakeMicroMusic@yahoogroups.com, Chris Vaisvil<chrisvaisvil@...> wrote:
>> I love the synth vibrato 2:17 and after. Very exciting piece - especially in
>> the context of 1970!!
>>
>> It, just doesn't sound "atonal" - actually sounds quite organized and
>> directed to me. I think because of the of the opening motive. Or perhaps my
>> hearing just that wacked :-)
>>
>> Chris
>>
>> On Sat, Feb 26, 2011 at 11:43 PM, gdsecor<gdsecor@...> wrote:
>>
>>>
>>> Hi everyone!
>>>
>>> This is an experiment I did in 1970, just for the fun of it. Since so many
>>> people have been creating atonal music using 12-equal, which (as everyone
>>> here knows) is not really very suitable for that sort of thing, why not use
>>> instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
>>> contrast, in which no interval would tend to resolve to any other interval
>>> (except the unison and octave)?
>>>
>>> I used a retuned electronic organ and an open-reel tape deck, overdubbing
>>> one voice at a time (a total of six times, if I remember correctly) to
>>> record an improvisation that may be the first piece ever produced in 11-EDO.
>>> Here's a sound file of the recording:
>>> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>>>
>>> I hope you enjoy listening to this microtonal historical event as much as I
>>> did making it.
>>>
>>> --George
>>>
>>>
>>>
>> [Non-text portions of this message have been removed]
>>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

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

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Wonderful, thanks!
>
> Would you say 11-EDO is a "macro-tonal" tuning? I have a good mind to
> revive the "macrotonality" concept in the case of <12 tuning schemes.
>
> Oz.
>
> --
>
> ✩ ✩ ✩
> www.ozanyarman.com

"Macrotonal" is a term I thought of using (many years ago), since 11-EDO (and other smaller octave divisions) are not really microtonal, in the strict sense of the word, and others on the tuning lists have also brought this up.

When Ivor Darreg considered this issue, he decided that, rather than having two mutually exclusive terms, what he really needed was a single term that would include all tunings significantly different from 12-equal, both microtonal and macrotonal. For this he coined the term "xenharmonic". It was so well accepted by others working with alternative tunings at the time that it was incorporated into the names of two different publications, John Chalmers's _Xenharmonikon_ and Darreg's own _Xenharmonic Bulletin_.

--George

I consider xenharmonic a loose term to signify exotic microtonality that
has little or no Classical music connotations. In this sense, I wouldn't
say a modified meantone temperament is xenharmonic.

Oz.

--

✩ ✩ ✩
www.ozanyarman.com

gdsecor wrote:
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman<ozanyarman@...> wrote:
>> Wonderful, thanks!
>>
>> Would you say 11-EDO is a "macro-tonal" tuning? I have a good mind to
>> revive the "macrotonality" concept in the case of<12 tuning schemes.
>>
>> Oz.
>>
>> --
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>
> "Macrotonal" is a term I thought of using (many years ago), since 11-EDO (and other smaller octave divisions) are not really microtonal, in the strict sense of the word, and others on the tuning lists have also brought this up.
>
> When Ivor Darreg considered this issue, he decided that, rather than having two mutually exclusive terms, what he really needed was a single term that would include all tunings significantly different from 12-equal, both microtonal and macrotonal. For this he coined the term "xenharmonic". It was so well accepted by others working with alternative tunings at the time that it was incorporated into the names of two different publications, John Chalmers's _Xenharmonikon_ and Darreg's own _Xenharmonic Bulletin_.
>
> --George
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

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

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Wonderful, thanks!
>
> Would you say 11-EDO is a "macro-tonal" tuning? I have a good mind to
> revive the "macrotonality" concept in the case of <12 tuning schemes.

It doesn't need reviving as it never died:

http://xenharmonic.wikispaces.com/macrotonal
http://xenharmonic.wikispaces.com/macrotonal+edos
http://xenharmonic.wikispaces.com/macrotonal+edonois

I'm not quite satisfied with all of those terms.

"Microtonality/macrotonality" evokes some "tonality", but music can
be also atonal.

And "xenharmonic" means "stranger, guest, host, foreign,
external...", that reminds me something like "extraterrestrial", and
that "harmonic" talks about "harmony", chords, but not all music is
based on chords and harmony.

Daniel Forro

On 28 Feb 2011, at 11:48 PM, gdsecor wrote:

>
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...>
> wrote:
>>
>> Wonderful, thanks!
>>
>> Would you say 11-EDO is a "macro-tonal" tuning? I have a good mind to
>> revive the "macrotonality" concept in the case of <12 tuning schemes.
>>
>> Oz.
>>
>> --
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>
> "Macrotonal" is a term I thought of using (many years ago), since
> 11-EDO (and other smaller octave divisions) are not really
> microtonal, in the strict sense of the word, and others on the
> tuning lists have also brought this up.
>
> When Ivor Darreg considered this issue, he decided that, rather
> than having two mutually exclusive terms, what he really needed was
> a single term that would include all tunings significantly
> different from 12-equal, both microtonal and macrotonal. For this
> he coined the term "xenharmonic". It was so well accepted by
> others working with alternative tunings at the time that it was
> incorporated into the names of two different publications, John
> Chalmers's _Xenharmonikon_ and Darreg's own _Xenharmonic Bulletin_.
>
> --George

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

On Mon, Feb 28, 2011 at 6:04 PM, Daniel Forró <dan.for@...> wrote:
> I'm not quite satisfied with all of those terms.
>
> "Microtonality/macrotonality" evokes some "tonality", but music can
> be also atonal.
>
> And "xenharmonic" means "stranger, guest, host, foreign,
> external...", that reminds me something like "extraterrestrial", and
> that "harmonic" talks about "harmony", chords, but not all music is
> based on chords and harmony.

Agreed. Xenharmonic definitely reminds me of, like, you're on a rocket
ship and you land on Neptune and find that there's a cabin there, and
you're hanging out in the cabin on Neptune or something. I also think
that it's noteworthy that some of the approaches we're taking to music
here are being reflected by other facets of the art community as well.
What is the name for this emerging revolution in art? "Xenaesthetic?"

-Mike

Finally got to listening, George....me like!!! I like the opening motive,
and the way you tie the whole improv together by using it throughout, and I
find the old-school analog sound very fun and pleasing.

I also think, as others have said, you do a great job of taking the
dissonant edge off of 11-edo!

AKJ

On Sat, Feb 26, 2011 at 10:43 PM, gdsecor <gdsecor@...> wrote:

>
> Hi everyone!
>
> This is an experiment I did in 1970, just for the fun of it. Since so many
> people have been creating atonal music using 12-equal, which (as everyone
> here knows) is not really very suitable for that sort of thing, why not use
> instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
> contrast, in which no interval would tend to resolve to any other interval
> (except the unison and octave)?
>
> I used a retuned electronic organ and an open-reel tape deck, overdubbing
> one voice at a time (a total of six times, if I remember correctly) to
> record an improvisation that may be the first piece ever produced in 11-EDO.
> Here's a sound file of the recording:
> http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
>
> I hope you enjoy listening to this microtonal historical event as much as I
> did making it.
>
> --George
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org

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

Hi Aaron,

Thanks for listening, & I'm glad you liked it. The experience of doing the parts one at a time was a very liberating one: since I didn't have to make the notes harmonize with one another, I could concentrate exclusively on melody, rhythm, dynamics, and phrasing (the very essence, I think, of expressionism).

Here's a suggestion for a xenharmonic ensemble, if anyone out there would like to try it. I think that 11-EDO would be great for a group improvisation: motifs could be created on the spur of the moment and passed around from one player to another (with or without modification), which would lend coherence to the end result.

--George

--- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@...> wrote:
>
> Finally got to listening, George....me like!!! I like the opening motive,
> and the way you tie the whole improv together by using it throughout, and I
> find the old-school analog sound very fun and pleasing.
>
> I also think, as others have said, you do a great job of taking the
> dissonant edge off of 11-edo!
>
> AKJ
>
> On Sat, Feb 26, 2011 at 10:43 PM, gdsecor <gdsecor@...> wrote:
>
> >
> > Hi everyone!
> >
> > This is an experiment I did in 1970, just for the fun of it. Since so many
> > people have been creating atonal music using 12-equal, which (as everyone
> > here knows) is not really very suitable for that sort of thing, why not use
> > instead a tuning (such as 11-equal) with a very low consonance-to-dissonance
> > contrast, in which no interval would tend to resolve to any other interval
> > (except the unison and octave)?
> >
> > I used a retuned electronic organ and an open-reel tape deck, overdubbing
> > one voice at a time (a total of six times, if I remember correctly) to
> > record an improvisation that may be the first piece ever produced in 11-EDO.
> > Here's a sound file of the recording:
> > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> >
> > I hope you enjoy listening to this microtonal historical event as much as I
> > did making it.
> >
> > --George
>
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.untwelve.org
>
>
> [Non-text portions of this message have been removed]
>

George,

Funny that you mention all this: I'm planning a piece in 13-edo which has
the same philosophy: "expressionistically" ignoring concerns about harmony,
and focussing on rhythmic, melodic, dynamic, pharsing, and timbral
expression.

I'm thinking a 3- or 4- part linear texture, each track improvised, and also
a "glue drum track"

AKJ

On Thu, Mar 10, 2011 at 1:11 PM, gdsecor <gdsecor@...> wrote:

>
> Hi Aaron,
>
> Thanks for listening, & I'm glad you liked it. The experience of doing the
> parts one at a time was a very liberating one: since I didn't have to make
> the notes harmonize with one another, I could concentrate exclusively on
> melody, rhythm, dynamics, and phrasing (the very essence, I think, of
> expressionism).
>
> Here's a suggestion for a xenharmonic ensemble, if anyone out there would
> like to try it. I think that 11-EDO would be great for a group
> improvisation: motifs could be created on the spur of the moment and passed
> around from one player to another (with or without modification), which
> would lend coherence to the end result.
>
> --George
>
> --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@...>
> wrote:
> >
> > Finally got to listening, George....me like!!! I like the opening motive,
> > and the way you tie the whole improv together by using it throughout, and
> I
> > find the old-school analog sound very fun and pleasing.
> >
> > I also think, as others have said, you do a great job of taking the
> > dissonant edge off of 11-edo!
> >
> > AKJ
> >
> > On Sat, Feb 26, 2011 at 10:43 PM, gdsecor <gdsecor@...> wrote:
> >
> > >
> > > Hi everyone!
> > >
> > > This is an experiment I did in 1970, just for the fun of it. Since so
> many
> > > people have been creating atonal music using 12-equal, which (as
> everyone
> > > here knows) is not really very suitable for that sort of thing, why not
> use
> > > instead a tuning (such as 11-equal) with a very low
> consonance-to-dissonance
> > > contrast, in which no interval would tend to resolve to any other
> interval
> > > (except the unison and octave)?
> > >
> > > I used a retuned electronic organ and an open-reel tape deck,
> overdubbing
> > > one voice at a time (a total of six times, if I remember correctly) to
> > > record an improvisation that may be the first piece ever produced in
> 11-EDO.
> > > Here's a sound file of the recording:
> > > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> > >
> > > I hope you enjoy listening to this microtonal historical event as much
> as I
> > > did making it.
> > >
> > > --George
> >
> > --
> > Aaron Krister Johnson
> > http://www.akjmusic.com
> > http://www.untwelve.org
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org

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

For what it is worth Andrew Heathwaite and Jacob Barton have already done
that.

The last time I performed in Urbana Andrew and Jacob with an 11 EDO ensemble
of about a half dozen people did several improvised score interpretations.

We also have been working on 11 edo serial pieces, with serialized
vocalizations, on Saturdays.

Chris

On Thu, Mar 10, 2011 at 2:11 PM, gdsecor <gdsecor@...> wrote:

>
>
>
> Hi Aaron,
>
> Thanks for listening, & I'm glad you liked it. The experience of doing the
> parts one at a time was a very liberating one: since I didn't have to make
> the notes harmonize with one another, I could concentrate exclusively on
> melody, rhythm, dynamics, and phrasing (the very essence, I think, of
> expressionism).
>
> Here's a suggestion for a xenharmonic ensemble, if anyone out there would
> like to try it. I think that 11-EDO would be great for a group
> improvisation: motifs could be created on the spur of the moment and passed
> around from one player to another (with or without modification), which
> would lend coherence to the end result.
>
> --George
>
> --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@...>
> wrote:
> >
> > Finally got to listening, George....me like!!! I like the opening motive,
> > and the way you tie the whole improv together by using it throughout, and
> I
> > find the old-school analog sound very fun and pleasing.
> >
> > I also think, as others have said, you do a great job of taking the
> > dissonant edge off of 11-edo!
> >
> > AKJ
> >
> > On Sat, Feb 26, 2011 at 10:43 PM, gdsecor <gdsecor@...> wrote:
> >
> > >
> > > Hi everyone!
> > >
> > > This is an experiment I did in 1970, just for the fun of it. Since so
> many
> > > people have been creating atonal music using 12-equal, which (as
> everyone
> > > here knows) is not really very suitable for that sort of thing, why not
> use
> > > instead a tuning (such as 11-equal) with a very low
> consonance-to-dissonance
> > > contrast, in which no interval would tend to resolve to any other
> interval
> > > (except the unison and octave)?
> > >
> > > I used a retuned electronic organ and an open-reel tape deck,
> overdubbing
> > > one voice at a time (a total of six times, if I remember correctly) to
> > > record an improvisation that may be the first piece ever produced in
> 11-EDO.
> > > Here's a sound file of the recording:
> > > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> > >
> > > I hope you enjoy listening to this microtonal historical event as much
> as I
> > > did making it.
> > >
> > > --George
> >
> > --
> > Aaron Krister Johnson
> > http://www.akjmusic.com
> > http://www.untwelve.org
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
>
>

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

Yeah! Go for it!

--George

--- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@...> wrote:
>
> George,
>
> Funny that you mention all this: I'm planning a piece in 13-edo which has
> the same philosophy: "expressionistically" ignoring concerns about harmony,
> and focussing on rhythmic, melodic, dynamic, pharsing, and timbral
> expression.
>
> I'm thinking a 3- or 4- part linear texture, each track improvised, and also
> a "glue drum track"
>
> AKJ
>
>
> On Thu, Mar 10, 2011 at 1:11 PM, gdsecor <gdsecor@...> wrote:
>
> >
> > Hi Aaron,
> >
> > Thanks for listening, & I'm glad you liked it. The experience of doing the
> > parts one at a time was a very liberating one: since I didn't have to make
> > the notes harmonize with one another, I could concentrate exclusively on
> > melody, rhythm, dynamics, and phrasing (the very essence, I think, of
> > expressionism).
> >
> > Here's a suggestion for a xenharmonic ensemble, if anyone out there would
> > like to try it. I think that 11-EDO would be great for a group
> > improvisation: motifs could be created on the spur of the moment and passed
> > around from one player to another (with or without modification), which
> > would lend coherence to the end result.
> >
> > --George
> >
> > --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@>
> > wrote:
> > >
> > > Finally got to listening, George....me like!!! I like the opening motive,
> > > and the way you tie the whole improv together by using it throughout, and
> > I
> > > find the old-school analog sound very fun and pleasing.
> > >
> > > I also think, as others have said, you do a great job of taking the
> > > dissonant edge off of 11-edo!
> > >
> > > AKJ
> > >
> > > On Sat, Feb 26, 2011 at 10:43 PM, gdsecor <gdsecor@> wrote:
> > >
> > > >
> > > > Hi everyone!
> > > >
> > > > This is an experiment I did in 1970, just for the fun of it. Since so
> > many
> > > > people have been creating atonal music using 12-equal, which (as
> > everyone
> > > > here knows) is not really very suitable for that sort of thing, why not
> > use
> > > > instead a tuning (such as 11-equal) with a very low
> > consonance-to-dissonance
> > > > contrast, in which no interval would tend to resolve to any other
> > interval
> > > > (except the unison and octave)?
> > > >
> > > > I used a retuned electronic organ and an open-reel tape deck,
> > overdubbing
> > > > one voice at a time (a total of six times, if I remember correctly) to
> > > > record an improvisation that may be the first piece ever produced in
> > 11-EDO.
> > > > Here's a sound file of the recording:
> > > > http://xenharmony.wikispaces.com/space/showimage/11EDO-improv.mp3
> > > >
> > > > I hope you enjoy listening to this microtonal historical event as much
> > as I
> > > > did making it.
> > > >
> > > > --George
> > >
> > > --
> > > Aaron Krister Johnson
> > > http://www.akjmusic.com
> > > http://www.untwelve.org
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
> >
> >
> > ------------------------------------
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
>
>
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.untwelve.org
>
>
> [Non-text portions of this message have been removed]
>