Xenoromantic composition in 22edo

The following piece was my contribution to the 2011 Untwelve competition. It is a piano piece in the style of romantic piano music of the 19th century (BTW, does anyone still have the xenoromantic manifesto somewhere?). I applied the concept of Neo-Riemannian transformations here (Richard Cohn, http://recherche.ircam.fr/equipes/repmus/mamux/Cohn%20Neo-R%20Tonnetz%20Rep.pdf ), which applies very naturally to 22edo, since its 7-limit major tetrad has the property to divide the octave into 7, 6, 5 and 4 steps (like in the above document the 12edo major triad does with 5, 4 and 3 steps), which means that starting with one interval of a given chord of this type and applying slight pitch shifts (quartertones often), there are unusually many ways that lead again to an interval of another chord of this form, offering rich possibilities for natural-sounding chord progressions, modulations and surprising harmonic turns.

Link is here:
https://share.ols.inode.at/ASJRF10WVXSCUTZF14OZ58LWJM1HS0Y33IUII4EE
--
Hans Straub

Listened and admired your intelligence and skill.
Also, the piece has both delicacy in places  and good robust arpeggios in other places-- some good bass.  So it's got some physical vigor, if you will.
The consonances, (especially the 7's?) stand out, as do the more novel "sour" dyads and chords.
Now Cal go away to dig in dirt.  Music too hard for Cal.

--- On Fri, 3/30/12, hstraub64 <straub@...> wrote:

From: hstraub64 <straub@...>
Subject: [MMM] Xenoromantic composition in 22edo
To: MakeMicroMusic@yahoogroups.com
Date: Friday, March 30, 2012, 7:40 AM

The following piece was my contribution to the 2011 Untwelve competition. It is a piano piece in the style of romantic piano music of the 19th century (BTW, does anyone still have the xenoromantic manifesto somewhere?). I applied the concept of Neo-Riemannian transformations here (Richard Cohn, http://recherche.ircam.fr/equipes/repmus/mamux/Cohn%20Neo-R%20Tonnetz%20Rep.pdf ), which applies very naturally to 22edo, since its 7-limit major tetrad has the property to divide the octave into 7, 6, 5 and 4 steps (like in the above document the 12edo major triad does with 5, 4 and 3 steps), which means that starting with one interval of a given chord of this type and applying slight pitch shifts (quartertones often), there are unusually many ways that lead again to an interval of another chord of this form, offering rich possibilities for natural-sounding chord progressions, modulations and surprising harmonic turns.

Link is here:

https://share.ols.inode.at/ASJRF10WVXSCUTZF14OZ58LWJM1HS0Y33IUII4EE

--

Hans Straub

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

--- In MakeMicroMusic@yahoogroups.com, Caleb Morgan <calebmrgn@...> wrote:
>
> Listened and admired your intelligence and skill.
> Also, the piece has both delicacy in places  and good robust
> arpeggios in other places-- some good bass.  So it's got some
> physical vigor, if you will.
> The consonances, (especially the 7's?) stand out, as do the more
> novel "sour" dyads and chords.
> Now Cal go away to dig in dirt.  Music too hard for Cal.
>

Thank you very much! (Except for the last sentence...)
As for skill, concerning _performance_ skill - I confess one thing, my aim was to play it live, but there is quite some amount of midi editing in it, incl. quantization. In case it sounds like played live, well, you can call it skill that it does...
But your comment is very reassuring for me!
--
Hans Straub