AXiS-49 22-tet improvisation

Hi all,

I recorded an improvisation on my AXiS-49. The whole thing was pretty
long so I edited 4 smaller parts from it. The playlist is here:

http://www.youtube.com/watch?v=eO2rlRhTId4&playnext=1&list=PL100AF8DBBDE723C4

Afterward, I went back and embellished on the 11-equal progression a
bit, harmonized it, worked out a melody for it

http://www.youtube.com/watch?v=AhPjsCoMy-Q&feature=BFa&list=PL100AF8DBBDE723C4&index=5

Here we can see me mangle an explanation of the porcupine comma pump on camera:

http://www.youtube.com/watch?v=XSfnyr1MhXE&feature=BFa&list=PL100AF8DBBDE723C4&index=6

It is apparently true that if you're ever on camera at 5:30 in the
morning and need to discuss regular mapping, the first phrase that
will come to your mind to describe motion downward by 10/9 is "go down
by a small thing." Anyway, since I said I'd have to discuss it in the
email, the chord progression is (in meantone)

Cm7 -> Ebmaj7 -> Ebm7 -> Dbmaj/Eb -> Dbm7 -> Cb/Db -> Cbm7

except in porcupine, instead of ending up at Cbm7, you end up back at
Cm7 again in porcupine.

Hope you enjoy.

-Mike

Nice improvisation!

You had really good facility with playing a melody - are you using any
particular mapping or does 22 edo work that well?

You played very percussively - I wonder what it would be like if you mapped
the axis to some drum samples.

Which mode was the axis in?

Thanks for making these,

Chris

On Sun, Apr 24, 2011 at 4:13 PM, Mike Battaglia <battaglia01@gmail.com>wrote:

>
>
> Hi all,
>
> I recorded an improvisation on my AXiS-49. The whole thing was pretty
> long so I edited 4 smaller parts from it. The playlist is here:
>
>
> http://www.youtube.com/watch?v=eO2rlRhTId4&playnext=1&list=PL100AF8DBBDE723C4
>
> Afterward, I went back and embellished on the 11-equal progression a
> bit, harmonized it, worked out a melody for it
>
>
> http://www.youtube.com/watch?v=AhPjsCoMy-Q&feature=BFa&list=PL100AF8DBBDE723C4&index=5
>
> Here we can see me mangle an explanation of the porcupine comma pump on
> camera:
>
>
> http://www.youtube.com/watch?v=XSfnyr1MhXE&feature=BFa&list=PL100AF8DBBDE723C4&index=6
>
> It is apparently true that if you're ever on camera at 5:30 in the
> morning and need to discuss regular mapping, the first phrase that
> will come to your mind to describe motion downward by 10/9 is "go down
> by a small thing." Anyway, since I said I'd have to discuss it in the
> email, the chord progression is (in meantone)
>
> Cm7 -> Ebmaj7 -> Ebm7 -> Dbmaj/Eb -> Dbm7 -> Cb/Db -> Cbm7
>
> except in porcupine, instead of ending up at Cbm7, you end up back at
> Cm7 again in porcupine.
>
> Hope you enjoy.
>
> -Mike
>
>

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

On Sun, Apr 24, 2011 at 5:33 PM, Chris Vaisvil <chrisvaisvil@...> wrote:
> Nice improvisation!
>
> You had really good facility with playing a melody - are you using any
> particular mapping or does 22 edo work that well?

I used a Bosanquet mapping, but built the whole thing around
porcupine[7]. Up and to the right is the large whole step, which is
4\22, and then down and to the right is the small whole step, which is
3\22. One large whole step and 6 whole steps gets you to an octave and
constitutes an entire sample.

Thanks for the comment about melody - melody is kind of tricky on
this, and now tendonitis is rearing its ugly head, but I managed to
get a few lines on it. I just need to practice more before it's really
fluid.

> You played very percussively - I wonder what it would be like if you mapped
> the axis to some drum samples.
>
> Which mode was the axis in?

I put it in selfless mode and used Andy Milne's "relayer" app that he
just posted on tuning.

-Mike

I probably downloaded it - but I know I didn't get a chance to use it.

I have one more video from Oddmusic to do and then I can move on to new
things.

I'm very interested in cataloging some progressions in 17 et like you are
doing with porcupine.

Chris

On Sun, Apr 24, 2011 at 5:40 PM, Mike Battaglia <battaglia01@...>wrote:

>
>
> On Sun, Apr 24, 2011 at 5:33 PM, Chris Vaisvil <chrisvaisvil@...>
> wrote:
> > Nice improvisation!
> >
> > You had really good facility with playing a melody - are you using any
> > particular mapping or does 22 edo work that well?
>
> I used a Bosanquet mapping, but built the whole thing around
> porcupine[7]. Up and to the right is the large whole step, which is
> 4\22, and then down and to the right is the small whole step, which is
> 3\22. One large whole step and 6 whole steps gets you to an octave and
> constitutes an entire sample.
>
> Thanks for the comment about melody - melody is kind of tricky on
> this, and now tendonitis is rearing its ugly head, but I managed to
> get a few lines on it. I just need to practice more before it's really
> fluid.
>
>
> > You played very percussively - I wonder what it would be like if you
> mapped
> > the axis to some drum samples.
> >
> > Which mode was the axis in?
>
> I put it in selfless mode and used Andy Milne's "relayer" app that he
> just posted on tuning.
>
> -Mike
>
>

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

On Sun, Apr 24, 2011 at 7:34 PM, Chris Vaisvil <chrisvaisvil@...> wrote:
> I probably downloaded it - but I know I didn't get a chance to use it.
>
> I have one more video from Oddmusic to do and then I can move on to new
> things.
>
> I'm very interested in cataloging some progressions in 17 et like you are
> doing with porcupine.
>
> Chris

I think most of the interesting territory has to do with comma pumps,
which cause chords to connect differently than you're used to. The way
that you use 17-equal makes it out to be a meantone temperament, so
much existing stuff will work. However, there are also other commas
that 17-equal tempers out, and these will cause new and other
interesting pumps.

Petr has been doing a great job at categorizing these, so you might
want to check out his stuff with comma pumps. The basic idea is - you
"depart from" the tonic in one direction and then suddenly find
yourself in a position to move back home. So for example, if you're in
magic temperament, and you start in C major, and you keep moving up by
major third, you will suddenly find that you're at the V chord, and
you can go from V back to I. Likewise we've been making use of this
for centuries in meantone harmony without realizing it - you can do
things like I -> IV -> ii -> V -> I, which also involves a comma pump.

-Mike

> I think most of the interesting territory has to do with comma pumps,
> which cause chords to connect differently than you're used to.

I think you're right, the most interesting stuff for me has been stuff that only works given the commas I'm tempering. I really dig your improv btw.

One progression in Bug I'm having a lot of fun with goes up a 6/5, down a 3/2, up a 6/5, up a 6/5, and down a 16/15, which puts you back at tonic. In Meantone, it would go from C, Eb, Ab, B, D, and end up on C#. I'll have to put something up on youtube as an example when I get something solid going on my AXiS.

John M