JI clock (was Re: [MMM] Re: Rhythm)

Funny that this discussion is going down...I did a piece on Jan 30th 2010 on
the first "dark concert" as an opener which was a Csound representation of
the overtone series played as pulses, up and down from 1 to 24 and back,
adding the pitches which were whole multiple of 48HZ, then taking them away.

http://www.akjmusic.com/audio/ji_clock.mp3

I only found out later that this was the idea behind the Henry Cowell's
"Rhythmicon"...IOW, I had independently hit on the same idea for this simple
process piece as Cowell did!!!

I used an almost sawtooth wave towrds the bottom and made the higher pitches
have progressively more triangle-wave timbre to keep it from being
overbearingly piercing.

What I enjoy here is the Moire-like patterns that emerge from the complex
interaction of all the simultaneous layers of rhythm. Let me know what you
think.

Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote a
23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've been too
busy to polish the recorded take to my liking...I'll see if I think tomorrow
will bring me a halfway decent take that I'm okay to share...I want to
really nail the dynamics and layering and rhythimic tightness as much as
possible...it's a difficult instrument to really play well, more than one
might think at first glance...

AKJ

On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <chrisvaisvil@...>wrote:

> ok, I took this very, very literally.
>
> online play http://alonetone.com/charlieferret/tracks/ji-percussion
>
> download
>
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
>
> I have tried to make a literal representation of this from Mat Cooper:
>
> "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
> Intonation. For example if rhythm1 cycles through 4 beats in the same time
> as rhythm2 cycles through 3 beats, this can be considered as 2 pitches in
> the frequency ratio 4:3. Polyrhythms are therefore rhythmic harmony.
>
> I like the idea of Just Intonation music where polyrhythms are derived from
> the JI scale. The rhythms are tuned to the scale.
>
> Mat Cooper."
>
> The cymbal is in the Fibonacci series counting by measures. Then there is a
> drum at every whole, half, half tripelet, and quarter note. This gives a
> series of 1:2:3:4 - which are off set slightly since in the real world the
> sound source would be out of phase. And then to top it off I gradually
> change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will go). My
> hope was that you'd hear a pitch - but I don't really. Perhaps if I change
> instrument.... hmmm.
>
>
> [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]

Hi Aaron, I get this when I follow the link:

404 Not Found The resource requested could not be found on this server!
------------------------------
Powered By LiteSpeed Web Server <http://www.litespeedtech.com/>
LiteSpeed Technologies is not responsible for administration and contents of
this web site!

On Fri, Mar 25, 2011 at 1:21 AM, Aaron Krister Johnson
<aaron@akjmusic.com>wrote:

>
>
> Funny that this discussion is going down...I did a piece on Jan 30th 2010
> on
> the first "dark concert" as an opener which was a Csound representation of
> the overtone series played as pulses, up and down from 1 to 24 and back,
> adding the pitches which were whole multiple of 48HZ, then taking them
> away.
>
> http://www.akjmusic.com/audio/ji_clock.mp3
>
> I only found out later that this was the idea behind the Henry Cowell's
> "Rhythmicon"...IOW, I had independently hit on the same idea for this
> simple
> process piece as Cowell did!!!
>
> I used an almost sawtooth wave towrds the bottom and made the higher
> pitches
> have progressively more triangle-wave timbre to keep it from being
> overbearingly piercing.
>
> What I enjoy here is the Moire-like patterns that emerge from the complex
> interaction of all the simultaneous layers of rhythm. Let me know what you
> think.
>
> Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote a
> 23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've been
> too
> busy to polish the recorded take to my liking...I'll see if I think
> tomorrow
> will bring me a halfway decent take that I'm okay to share...I want to
> really nail the dynamics and layering and rhythimic tightness as much as
> possible...it's a difficult instrument to really play well, more than one
> might think at first glance...
>
> AKJ
>
> On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <chrisvaisvil@...
> >wrote:
>
> > ok, I took this very, very literally.
> >
> > online play http://alonetone.com/charlieferret/tracks/ji-percussion
> >
> > download
> >
> >
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
> >
> > I have tried to make a literal representation of this from Mat Cooper:
> >
> > "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
> > Intonation. For example if rhythm1 cycles through 4 beats in the same
> time
> > as rhythm2 cycles through 3 beats, this can be considered as 2 pitches in
> > the frequency ratio 4:3. Polyrhythms are therefore rhythmic harmony.
> >
> > I like the idea of Just Intonation music where polyrhythms are derived
> from
> > the JI scale. The rhythms are tuned to the scale.
> >
> > Mat Cooper."
> >
> > The cymbal is in the Fibonacci series counting by measures. Then there is
> a
> > drum at every whole, half, half tripelet, and quarter note. This gives a
> > series of 1:2:3:4 - which are off set slightly since in the real world
> the
> > sound source would be out of phase. And then to top it off I gradually
> > change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will go).
> My
> > hope was that you'd hear a pitch - but I don't really. Perhaps if I
> change
> > instrument.... hmmm.
> >
> >
> > [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]
>
>
>

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

Ok, should work now.....

http://www.akjmusic.com/audio/ji_clock.mp3

AKJ

On Fri, Mar 25, 2011 at 7:36 AM, Chris Vaisvil <chrisvaisvil@...>wrote:

> Hi Aaron, I get this when I follow the link:
>
> 404 Not Found The resource requested could not be found on this server!
> ------------------------------
> Powered By LiteSpeed Web Server <http://www.litespeedtech.com/>
> LiteSpeed Technologies is not responsible for administration and contents
> of
> this web site!
>
> On Fri, Mar 25, 2011 at 1:21 AM, Aaron Krister Johnson
> <aaron@...>wrote:
>
> >
> >
> > Funny that this discussion is going down...I did a piece on Jan 30th 2010
> > on
> > the first "dark concert" as an opener which was a Csound representation
> of
> > the overtone series played as pulses, up and down from 1 to 24 and back,
> > adding the pitches which were whole multiple of 48HZ, then taking them
> > away.
> >
> > http://www.akjmusic.com/audio/ji_clock.mp3
> >
> > I only found out later that this was the idea behind the Henry Cowell's
> > "Rhythmicon"...IOW, I had independently hit on the same idea for this
> > simple
> > process piece as Cowell did!!!
> >
> > I used an almost sawtooth wave towrds the bottom and made the higher
> > pitches
> > have progressively more triangle-wave timbre to keep it from being
> > overbearingly piercing.
> >
> > What I enjoy here is the Moire-like patterns that emerge from the complex
> > interaction of all the simultaneous layers of rhythm. Let me know what
> you
> > think.
> >
> > Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote a
> > 23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've been
> > too
> > busy to polish the recorded take to my liking...I'll see if I think
> > tomorrow
> > will bring me a halfway decent take that I'm okay to share...I want to
> > really nail the dynamics and layering and rhythimic tightness as much as
> > possible...it's a difficult instrument to really play well, more than one
> > might think at first glance...
> >
> > AKJ
> >
> > On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <chrisvaisvil@...
> > >wrote:
> >
> > > ok, I took this very, very literally.
> > >
> > > online play http://alonetone.com/charlieferret/tracks/ji-percussion
> > >
> > > download
> > >
> > >
> >
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
> > >
> > > I have tried to make a literal representation of this from Mat Cooper:
> > >
> > > "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
> > > Intonation. For example if rhythm1 cycles through 4 beats in the same
> > time
> > > as rhythm2 cycles through 3 beats, this can be considered as 2 pitches
> in
> > > the frequency ratio 4:3. Polyrhythms are therefore rhythmic harmony.
> > >
> > > I like the idea of Just Intonation music where polyrhythms are derived
> > from
> > > the JI scale. The rhythms are tuned to the scale.
> > >
> > > Mat Cooper."
> > >
> > > The cymbal is in the Fibonacci series counting by measures. Then there
> is
> > a
> > > drum at every whole, half, half tripelet, and quarter note. This gives
> a
> > > series of 1:2:3:4 - which are off set slightly since in the real world
> > the
> > > sound source would be out of phase. And then to top it off I gradually
> > > change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will go).
> > My
> > > hope was that you'd hear a pitch - but I don't really. Perhaps if I
> > change
> > > instrument.... hmmm.
> > >
> > >
> > > [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]
> >
> >
> >
>
>
> [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]

oh yeah!!!

this rocks!!

On Fri, Mar 25, 2011 at 9:53 AM, Aaron Krister Johnson
<aaron@...>wrote:

>
>
> Ok, should work now.....
>
>
> http://www.akjmusic.com/audio/ji_clock.mp3
>
> AKJ
>
> On Fri, Mar 25, 2011 at 7:36 AM, Chris Vaisvil <chrisvaisvil@...
> >wrote:
>
>
> > Hi Aaron, I get this when I follow the link:
> >
> > 404 Not Found The resource requested could not be found on this server!
> > ------------------------------
> > Powered By LiteSpeed Web Server <http://www.litespeedtech.com/>
>
> > LiteSpeed Technologies is not responsible for administration and contents
> > of
> > this web site!
> >
> > On Fri, Mar 25, 2011 at 1:21 AM, Aaron Krister Johnson
> > <aaron@...>wrote:
> >
> > >
> > >
> > > Funny that this discussion is going down...I did a piece on Jan 30th
> 2010
> > > on
> > > the first "dark concert" as an opener which was a Csound representation
> > of
> > > the overtone series played as pulses, up and down from 1 to 24 and
> back,
> > > adding the pitches which were whole multiple of 48HZ, then taking them
> > > away.
> > >
> > > http://www.akjmusic.com/audio/ji_clock.mp3
> > >
> > > I only found out later that this was the idea behind the Henry Cowell's
> > > "Rhythmicon"...IOW, I had independently hit on the same idea for this
> > > simple
> > > process piece as Cowell did!!!
> > >
> > > I used an almost sawtooth wave towrds the bottom and made the higher
> > > pitches
> > > have progressively more triangle-wave timbre to keep it from being
> > > overbearingly piercing.
> > >
> > > What I enjoy here is the Moire-like patterns that emerge from the
> complex
> > > interaction of all the simultaneous layers of rhythm. Let me know what
> > you
> > > think.
> > >
> > > Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote a
> > > 23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've
> been
> > > too
> > > busy to polish the recorded take to my liking...I'll see if I think
> > > tomorrow
> > > will bring me a halfway decent take that I'm okay to share...I want to
> > > really nail the dynamics and layering and rhythimic tightness as much
> as
> > > possible...it's a difficult instrument to really play well, more than
> one
> > > might think at first glance...
> > >
> > > AKJ
> > >
> > > On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <chrisvaisvil@...
> > > >wrote:
> > >
> > > > ok, I took this very, very literally.
> > > >
> > > > online play http://alonetone.com/charlieferret/tracks/ji-percussion
> > > >
> > > > download
> > > >
> > > >
> > >
> >
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
> > > >
> > > > I have tried to make a literal representation of this from Mat
> Cooper:
> > > >
> > > > "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
> > > > Intonation. For example if rhythm1 cycles through 4 beats in the same
> > > time
> > > > as rhythm2 cycles through 3 beats, this can be considered as 2
> pitches
> > in
> > > > the frequency ratio 4:3. Polyrhythms are therefore rhythmic harmony.
> > > >
> > > > I like the idea of Just Intonation music where polyrhythms are
> derived
> > > from
> > > > the JI scale. The rhythms are tuned to the scale.
> > > >
> > > > Mat Cooper."
> > > >
> > > > The cymbal is in the Fibonacci series counting by measures. Then
> there
> > is
> > > a
> > > > drum at every whole, half, half tripelet, and quarter note. This
> gives
> > a
> > > > series of 1:2:3:4 - which are off set slightly since in the real
> world
> > > the
> > > > sound source would be out of phase. And then to top it off I
> gradually
> > > > change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will
> go).
> > > My
> > > > hope was that you'd hear a pitch - but I don't really. Perhaps if I
> > > change
> > > > instrument.... hmmm.
> > > >
> > > >
> > > > [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]
> > >
> > >
> > >
> >
> >
> > [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]
>
>
>

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

Thanks, but I really think you should just thank mother nature, b/c this is
about a simple a process piece as it gets! :D

Okay, maybe I get a little credit for making a decent sounding
realization...

AKJ

On Fri, Mar 25, 2011 at 11:51 AM, Chris Vaisvil <chrisvaisvil@...>wrote:

> oh yeah!!!
>
> this rocks!!
>
>
>
> On Fri, Mar 25, 2011 at 9:53 AM, Aaron Krister Johnson
> <aaron@...>wrote:
>
> >
> >
> > Ok, should work now.....
> >
> >
> > http://www.akjmusic.com/audio/ji_clock.mp3
> >
> > AKJ
> >
> > On Fri, Mar 25, 2011 at 7:36 AM, Chris Vaisvil <chrisvaisvil@...
> > >wrote:
> >
> >
> > > Hi Aaron, I get this when I follow the link:
> > >
> > > 404 Not Found The resource requested could not be found on this server!
> > > ------------------------------
> > > Powered By LiteSpeed Web Server <http://www.litespeedtech.com/>
> >
> > > LiteSpeed Technologies is not responsible for administration and
> contents
> > > of
> > > this web site!
> > >
> > > On Fri, Mar 25, 2011 at 1:21 AM, Aaron Krister Johnson
> > > <aaron@...>wrote:
> > >
> > > >
> > > >
> > > > Funny that this discussion is going down...I did a piece on Jan 30th
> > 2010
> > > > on
> > > > the first "dark concert" as an opener which was a Csound
> representation
> > > of
> > > > the overtone series played as pulses, up and down from 1 to 24 and
> > back,
> > > > adding the pitches which were whole multiple of 48HZ, then taking
> them
> > > > away.
> > > >
> > > > http://www.akjmusic.com/audio/ji_clock.mp3
> > > >
> > > > I only found out later that this was the idea behind the Henry
> Cowell's
> > > > "Rhythmicon"...IOW, I had independently hit on the same idea for this
> > > > simple
> > > > process piece as Cowell did!!!
> > > >
> > > > I used an almost sawtooth wave towrds the bottom and made the higher
> > > > pitches
> > > > have progressively more triangle-wave timbre to keep it from being
> > > > overbearingly piercing.
> > > >
> > > > What I enjoy here is the Moire-like patterns that emerge from the
> > complex
> > > > interaction of all the simultaneous layers of rhythm. Let me know
> what
> > > you
> > > > think.
> > > >
> > > > Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote
> a
> > > > 23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've
> > been
> > > > too
> > > > busy to polish the recorded take to my liking...I'll see if I think
> > > > tomorrow
> > > > will bring me a halfway decent take that I'm okay to share...I want
> to
> > > > really nail the dynamics and layering and rhythimic tightness as much
> > as
> > > > possible...it's a difficult instrument to really play well, more than
> > one
> > > > might think at first glance...
> > > >
> > > > AKJ
> > > >
> > > > On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <
> chrisvaisvil@...
> > > > >wrote:
> > > >
> > > > > ok, I took this very, very literally.
> > > > >
> > > > > online play
> http://alonetone.com/charlieferret/tracks/ji-percussion
> > > > >
> > > > > download
> > > > >
> > > > >
> > > >
> > >
> >
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
> > > > >
> > > > > I have tried to make a literal representation of this from Mat
> > Cooper:
> > > > >
> > > > > "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
> > > > > Intonation. For example if rhythm1 cycles through 4 beats in the
> same
> > > > time
> > > > > as rhythm2 cycles through 3 beats, this can be considered as 2
> > pitches
> > > in
> > > > > the frequency ratio 4:3. Polyrhythms are therefore rhythmic
> harmony.
> > > > >
> > > > > I like the idea of Just Intonation music where polyrhythms are
> > derived
> > > > from
> > > > > the JI scale. The rhythms are tuned to the scale.
> > > > >
> > > > > Mat Cooper."
> > > > >
> > > > > The cymbal is in the Fibonacci series counting by measures. Then
> > there
> > > is
> > > > a
> > > > > drum at every whole, half, half tripelet, and quarter note. This
> > gives
> > > a
> > > > > series of 1:2:3:4 - which are off set slightly since in the real
> > world
> > > > the
> > > > > sound source would be out of phase. And then to top it off I
> > gradually
> > > > > change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will
> > go).
> > > > My
> > > > > hope was that you'd hear a pitch - but I don't really. Perhaps if I
> > > > change
> > > > > instrument.... hmmm.
> > > > >
> > > > >
> > > > > [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]
> > > >
> > > >
> > > >
> > >
> > >
> > > [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]
> >
> >
> >
>
>
> [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]

On Fri, Mar 25, 2011 at 2:32 PM, Aaron Krister Johnson
<aaron@...> wrote:
>
> Thanks, but I really think you should just thank mother nature, b/c this is
> about a simple a process piece as it gets! :D
>
> Okay, maybe I get a little credit for making a decent sounding
> realization...
>
> AKJ

Really nice. The interesting thing is that your adding different
overtones here and putting them at tempi proportional to their
frequency mimics what actually happens to the waveform of a sinusoid
as you add harmonics to it. You could probably make a cryptography
algorithm based on this idea. Good work.

-Mike

That's a cool track, Aaron!

Here's something that uses a similar idea (and I was definitely thinking
of Cowell when I made it), made with sine waves and binaural beats. The
drones in the justly-intoned chord create binaural beating patterns
where the beating rate of each voice is proportional to the voice's
pitch ratio.

Stream:
http://soundcloud.com/mysterybear/gyre

Download:
http://soundcloud.com/mysterybear/gyre/download

- Dave
http://mysterybear.net

On 3/25/2011 1:21 AM, Aaron Krister Johnson wrote:
>
>
> Funny that this discussion is going down...I did a piece on Jan 30th 2010 on
> the first "dark concert" as an opener which was a Csound representation of
> the overtone series played as pulses, up and down from 1 to 24 and back,
> adding the pitches which were whole multiple of 48HZ, then taking them away.
>
> http://www.akjmusic.com/audio/ji_clock.mp3
>
> I only found out later that this was the idea behind the Henry Cowell's
> "Rhythmicon"...IOW, I had independently hit on the same idea for this simple
> process piece as Cowell did!!!
>
> I used an almost sawtooth wave towrds the bottom and made the higher pitches
> have progressively more triangle-wave timbre to keep it from being
> overbearingly piercing.
>
> What I enjoy here is the Moire-like patterns that emerge from the complex
> interaction of all the simultaneous layers of rhythm. Let me know what you
> think.
>
> Hopefully, I'll post my latest kalimba adventures tomorrow...I wrote a
> 23-edo anti-diatonic piece in 17/8 meter for alto kalimba, but I've been too
> busy to polish the recorded take to my liking...I'll see if I think tomorrow
> will bring me a halfway decent take that I'm okay to share...I want to
> really nail the dynamics and layering and rhythimic tightness as much as
> possible...it's a difficult instrument to really play well, more than one
> might think at first glance...
>
> AKJ
>
> On Wed, Mar 23, 2011 at 2:23 PM, Chris Vaisvil <chrisvaisvil@...
> <mailto:chrisvaisvil%40gmail.com>>wrote:
>
>> ok, I took this very, very literally.
>>
>> online play http://alonetone.com/charlieferret/tracks/ji-percussion
>>
>> download
>>
>>
> http://micro.soonlabel.com/various/daily20110323-gpo-JI-percs-fib-1-2-3-4.mp3
>>
>> I have tried to make a literal representation of this from Mat Cooper:
>>
>> "I consider rhythm to be ultra-low pitch. Polyrhythms are then Just
>> Intonation. For example if rhythm1 cycles through 4 beats in the same time
>> as rhythm2 cycles through 3 beats, this can be considered as 2 pitches in
>> the frequency ratio 4:3. Polyrhythms are therefore rhythmic harmony.
>>
>> I like the idea of Just Intonation music where polyrhythms are derived
> from
>> the JI scale. The rhythms are tuned to the scale.
>>
>> Mat Cooper."
>>
>> The cymbal is in the Fibonacci series counting by measures. Then there
> is a
>> drum at every whole, half, half tripelet, and quarter note. This gives a
>> series of 1:2:3:4 - which are off set slightly since in the real world the
>> sound source would be out of phase. And then to top it off I gradually
>> change the tempo from 10 bpm to 1000 bpm (as fast as Sonar X1 will go). My
>> hope was that you'd hear a pitch - but I don't really. Perhaps if I change
>> instrument.... hmmm.
>>
>>
>> [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]
>
>