New song: "Mr. Gene Hating on 14" :-)

/makemicromusic/files/djtrancendance/mrgenehatingon14.mp3

    Fun little ditty done with an improvisation over 14TET.  Well at least I had fun making it...even if it still bugs listeners. :-D

  My goal was to make something listenable in 14TET despite the fact Gene doesn't even like Knowsur's 14TET songs (which seem to be cream-of-the-crop far as what most people think is the best music ever written in 14TET). 

--------------
    This time around...absolutely no beat, 8 chords in the background (not quite jazz, I don't have a full 12 chords back there), and 1 minute of pure
soloing/improv.  Composing melodies in any scale with strong chords in 14TET seems quite challenging due to the unequal scale spacing needed to get strong chords.
--------------------------------
   Odd thing in 14TET, when you use the 11/9 minor second and good 9/7 approximation in triads...the wolf fifth becomes somewhat tolerable (note the 11/9 forms a second 11/9 with the wolf fifth in a triad).  Also the grossly off 4/3 major third can get pushed into context when other dyads are strong and "fields of attraction" (from Harmonic Entropy) appear to play a strong part in making usable fourths in contexts.
  Still...perhaps the main trick to composing here is respecting the 11/9 neutral third.
------------------
    14TET also seems to be one odd case where dyadic analysis tells you little about the scale since so many of the dyads are sour...and only looking at triads seems to clear things up.

On Sun, Mar 20, 2011 at 7:02 PM, Michael <djtrancendance@...> wrote:
>
> /makemicromusic/files/djtrancendance/mrgenehatingon14.mp3
>
>     Fun little ditty done with an improvisation over 14TET.  Well at least I had fun making it...even if it still bugs listeners. :-D
>
>   My goal was to make something listenable in 14TET despite the fact Gene doesn't even like Knowsur's 14TET songs (which seem to be cream-of-the-crop far as what most people think is the best music ever written in 14TET).

For someone who hates critical band dissonance, you sure don't mind
putting lots of it in the lower register.

>    Odd thing in 14TET, when you use the 11/9 minor second and good 9/7 approximation in triads...the wolf fifth becomes somewhat tolerable (note the 11/9 forms a second 11/9 with the wolf fifth in a triad).  Also the grossly off 4/3 major third can get pushed into context when other dyads are strong and "fields of attraction" (from Harmonic Entropy) appear to play a strong part in making usable fourths in contexts.

Si.

>   Still...perhaps the main trick to composing here is respecting the 11/9 neutral third.

Which you can sometimes get to sound like a major or a minor third,
depending on context. Whether this has to do with HE or learned scalar
structure is anyone's guess.

>     14TET also seems to be one odd case where dyadic analysis tells you little about the scale since so many of the dyads are sour...and only looking at triads seems to clear things up.

In contrast, many scales posted here are ones in which many of the
dyads are fantastic, and yet all of the triads suck.

-Mike

--- In MakeMicroMusic@yahoogroups.com, Michael <djtrancendance@...> wrote:
>
> /makemicromusic/files/djtrancendance/mrgenehatingon14.mp3

I bet you could retune this and get it to sound pretty good. There are some excellent 14-note scales, but we would want something fairly even.

--- In MakeMicroMusic@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
>
>
> --- In MakeMicroMusic@yahoogroups.com, Michael <djtrancendance@> wrote:
> >
> > /makemicromusic/files/djtrancendance/mrgenehatingon14.mp3
>
> I bet you could retune this and get it to sound pretty good. There are some excellent 14-note scales, but we would want something fairly even.

Skwares[14] might work for that:

http://xenharmonic.wikispaces.com/Chromatic+pairs#Skwares

Gene>"I bet you could retune this and get it to sound pretty good. There are
some excellent 14-note scales, but we would want something fairly even."

   Indirectly referring to that my scale (under 14TET) isn't evenly spaced?
   Which would be true, of course, as the spacing (in 14TET) is 0 3 4 5 8 9 13 where 0 is the first note in 14TET...and the clustered spacing makes melody writing very difficult.  I'll try Skuares (sp.?...it's apparently different than "Squares" on purpose...through remapping the triads may prove a bit tricky without changing them entirely).

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

--- In MakeMicroMusic@yahoogroups.com, Michael <djtrancendance@...> wrote:
>
> Gene>"I bet you could retune this and get it to sound pretty good. There are
> some excellent 14-note scales, but we would want something fairly even."
>
>    Indirectly referring to that my scale (under 14TET) isn't evenly spaced?
>    Which would be true, of course, as the spacing (in 14TET) is 0 3 4 5 8 9 13 where 0 is the first note in 14TET...and the clustered spacing makes melody writing very difficult.  I'll try Skuares (sp.?...it's apparently different than "Squares" on purpose...through remapping the triads may prove a bit tricky without changing them entirely).

You've got more than one kind of triad in skwares to work with.

Sorry for not getting to this until now.

My biggest impression is - forget the harmony and tuning - this seems
poly-rhythmic - this staggering kaleidoscope of timing - that is your sound
-

Chris

On Sun, Mar 20, 2011 at 7:02 PM, Michael <djtrancendance@...> wrote:

>
>
>
> /makemicromusic/files/djtrancendance/mrgenehatingon14.mp3
>
> Fun little ditty done with an improvisation over 14TET. Well at least
> I had fun making it...even if it still bugs listeners. :-D
>
> My goal was to make something listenable in 14TET despite the fact Gene
> doesn't even like Knowsur's 14TET songs (which seem to be cream-of-the-crop
> far as what most people think is the best music ever written in 14TET).
>
> --------------
> This time around...absolutely no beat, 8 chords in the background (not
> quite jazz, I don't have a full 12 chords back there), and 1 minute of pure
> soloing/improv. Composing melodies in any scale with strong chords in
> 14TET seems quite challenging due to the unequal scale spacing needed to get
> strong chords.
> --------------------------------
> Odd thing in 14TET, when you use the 11/9 minor second and good 9/7
> approximation in triads...the wolf fifth becomes somewhat tolerable (note
> the 11/9 forms a second 11/9 with the wolf fifth in a triad). Also the
> grossly off 4/3 major third can get pushed into context when other dyads are
> strong and "fields of attraction" (from Harmonic Entropy) appear to play a
> strong part in making usable fourths in contexts.
> Still...perhaps the main trick to composing here is respecting the 11/9
> neutral third.
> ------------------
> 14TET also seems to be one odd case where dyadic analysis tells you
> little about the scale since so many of the dyads are sour...and only
> looking at triads seems to clear things up.
>
>

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