New piece

Hello tuners,

I have uploaded a new piece at microtonal.org

here is the url:

http://www.microtonal.org/mp3/The_Golden_Fleece .mp3

Tell us what you think!

This one is distortion free ;-)

Justin

Hello, Guys,

After a year or more in 12-pitchland, I've finally completed a
microtonal piece for flute, clarinet, keyboard sampler, synthesizer,
and fretless bass. It's somewhat inelegantly titled As the Day Is Long
(Revisited), because it uses tunes from a piece I wrote in 1982 called
As the Day Is Long. Flutist and supreme new-music masochist Pat
Spencer, who played in my microtonal opera Cinderella's Bad Magic and
actually *enjoyed* the experience, asked me to write something
microtonal for her and clarinetist Meighan Stoops, so I did. It
started out with a basic 28-pitch, 11-limit, JI scale, but I ended up
adding a few more pitches for melodic exigencies. They'll play it in
the fall, and until then I've put up a MIDI version here (timing 13:40):

http://www.kylegann.com/Revisited.mp3

Comments welcome; stunned silence also acceptable.

While I'm at it, I should mention that I just released a new CD of
Disklavier music on New World, Nude Rolling Down an Escalator. Not
relevant, you might think, but the piano I recorded it on was tuned to
Thomas Young's 1799 Well Temperament. I *think* it's the first CD
entirely devoted to Disklavier music, but I'm virtually certain that
it's the first CD of Disklavier music in a historical well
temperament. Contradict me who can.

Cheers,

Kyle
"Lurking when you least suspect it since 1998"

Greetings,

Good news all around! I will listen later when my son permits me leisure!

BTW How can your CD of Disklavier be obtained?

More info most welcome, such as what elements of the temperament you found
most useful and expressive and how you used this in the works.

All best wishes,
Gordon Rumson
Pianist, composer, author and storyteller
Music Director and Organist, St. Matthew's United Church

"This world is actually Hell mislabeled. Someone got the bar codes wrong."
G.R.

>
> http://www.kylegann.com/Revisited.mp3
>
> Comments welcome; stunned silence also acceptable.
>
> While I'm at it, I should mention that I just released a new CD of
> Disklavier music on New World, Nude Rolling Down an Escalator. Not
> relevant, you might think, but the piano I recorded it on was tuned to
> Thomas Young's 1799 Well Temperament. I *think* it's the first CD
> entirely devoted to Disklavier music, but I'm virtually certain that
> it's the first CD of Disklavier music in a historical well
> temperament. Contradict me who can.
>
> Cheers,
>
> Kyle
> "Lurking when you least suspect it since 1998"

Gordon,

{you wrote...}
>BTW How can your CD of Disklavier be obtained?

http://www.newworldrecords.org/nwr/disc.cgi?new_release_month=jun

Freely downloadable liner notes available, in case anyone wants to read about music before they decide whether to like it or not... :)

Cheers,
Jon

Kyle, list -

{you wrote...}
>While I'm at it, I should mention that I just released a new CD of >Disklavier music on New World, Nude Rolling Down an Escalator.

If the only piece on the disc was "Bud Ran Back Out" it would get an unhesitating thumbs up from me.

Cheers,
Jon

Gordon,

I've worked on pianos in well temperament for about a decade, but it
hadn't really occurred to me that my Disklavier pieces would/could get
recorded in WT, so I never thought about it much. But now that you
mention it, the final piece has a long ending section in C# major
which needs to be a little sparkly and energetic, as C# major is in
WT. I picked the innocently sad key of E minor for an innocently sad
Folk Dance for Henry Cowell, but perhaps I should have pitched jaunty
Texarkana down a half-step in F-sharp; didn't think of it. One piece,
called Petty Larceny, is composed entirely of layered quotations from
the Beethoven Sonatas, all in their original keys. I think working in
WT has an unconscious influence on me, but most of the pieces change
key too often to really pin the effects down.

And the store date is officially June 28 - shouldn't be difficult to
find, I hope.

Thanks,

Kyle

--- In MakeMicroMusic@yahoogroups.com, Gordon Rumson <rumsong@t...> wrote:
> Greetings,
>
> Good news all around! I will listen later when my son permits me
leisure!
>
> BTW How can your CD of Disklavier be obtained?
>
> More info most welcome, such as what elements of the temperament you
found
> most useful and expressive and how you used this in the works.
>
> All best wishes,
> Gordon Rumson
> Pianist, composer, author and storyteller
> Music Director and Organist, St. Matthew's United Church
>
> "This world is actually Hell mislabeled. Someone got the bar codes
wrong."
> G.R.
>
>
>
>
> >
> > http://www.kylegann.com/Revisited.mp3
> >
> > Comments welcome; stunned silence also acceptable.
> >
> > While I'm at it, I should mention that I just released a new CD of
> > Disklavier music on New World, Nude Rolling Down an Escalator. Not
> > relevant, you might think, but the piano I recorded it on was tuned to
> > Thomas Young's 1799 Well Temperament. I *think* it's the first CD
> > entirely devoted to Disklavier music, but I'm virtually certain that
> > it's the first CD of Disklavier music in a historical well
> > temperament. Contradict me who can.
> >
> > Cheers,
> >
> > Kyle
> > "Lurking when you least suspect it since 1998"

hi Kyle,

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:

> After a year or more in 12-pitchland, I've finally
> completed a microtonal piece for flute, clarinet,
> keyboard sampler, synthesizer, and fretless bass.
> It's somewhat inelegantly titled As the Day Is Long
> (Revisited), because it uses tunes from a piece I
> wrote in 1982 called As the Day Is Long.

Very nice.

-monz
http://tonalsoft.com
Tonescape microtonal music software

Hi Kyle,

Thanks for the mp3! Looking forward to the acoustic recording.

> I *think* it's the first CD
> entirely devoted to Disklavier music

Check out "Jazz from Hell", Frannk Zappa, 1986.

Regards,
Aaron Hunt

Zappa used a Synclavier, not a Disklavier. Different beasts.

- Dave

gooseplex wrote:
> Hi Kyle,
> > Thanks for the mp3! Looking forward to the acoustic recording.
> > >>I *think* it's the first CD
>>entirely devoted to Disklavier music
> > > Check out "Jazz from Hell", Frannk Zappa, 1986.
> > Regards,
> Aaron Hunt

> Check out "Jazz from Hell", Frannk Zappa, 1986.

That was done on a Synclavier... ;-)

Anyway, Kyle, thanks for the nice long piece; something we can really get
into. I'm likewise looking forward to hearing a live recording someday.

Rick

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:
> Hello, Guys,
>
> After a year or more in 12-pitchland, I've finally completed a
> microtonal piece for flute, clarinet, keyboard sampler, synthesizer,
> and fretless bass. It's somewhat inelegantly titled As the Day Is Long
> (Revisited),

***Congrats, Kyle, on your recent work. I will listen to it shortly.

By the way, what's with your email that people can no longer contact
you, or are returned back as "spam..."

Maybe you should take your email address off the ArtsJournal site,
since it gives the appearance that people can actually contact you
about your writings there when, or so it seems, they cannot...

Or at least, seemingly *I* cannot... :)

In any case, I've been enjoying and following the ArtsJournal entries
regularly...

best wishes,

Joe Pehrson

Kyle,

Congratulations! - both on the new piece, which I'm downloading
right now (about 85 minutes' worth!) and am SURE to appreciate,
and on the CD release. I've enjoyed Nude Rolling ... and Bud ran ...,
as well as several other MP3s of yours I've listened to from your
site. I suspect your forte may be a twisted kind of jazz :-)

Thanks for the opportunity to enjoy your work.

Regards,
Yahya

-----Original Message-----
Date: Tue, 14 Jun 2005 18:09:26 -0000
From: "kylegann1955" <kgann@...>

Hello, Guys,

After a year or more in 12-pitchland, I've finally completed a
microtonal piece for flute, clarinet, keyboard sampler, synthesizer,
and fretless bass. It's somewhat inelegantly titled As the Day Is Long
(Revisited), because it uses tunes from a piece I wrote in 1982 called
As the Day Is Long. Flutist and supreme new-music masochist Pat
Spencer, who played in my microtonal opera Cinderella's Bad Magic and
actually *enjoyed* the experience, asked me to write something
microtonal for her and clarinetist Meighan Stoops, so I did. It
started out with a basic 28-pitch, 11-limit, JI scale, but I ended up
adding a few more pitches for melodic exigencies. They'll play it in
the fall, and until then I've put up a MIDI version here (timing 13:40):

http://www.kylegann.com/Revisited.mp3

Comments welcome; stunned silence also acceptable.

While I'm at it, I should mention that I just released a new CD of
Disklavier music on New World, Nude Rolling Down an Escalator. Not
relevant, you might think, but the piano I recorded it on was tuned to
Thomas Young's 1799 Well Temperament. I *think* it's the first CD
entirely devoted to Disklavier music, but I'm virtually certain that
it's the first CD of Disklavier music in a historical well
temperament. Contradict me who can.

Cheers,

Kyle
"Lurking when you least suspect it since 1998"

--
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.323 / Virus Database: 267.7.5/18 - Release Date: 15/6/05

Joe,

You should be able to click through a link in the anti-spam message that comes back, which will bring you to a screen that will allow your email to get through to Kyle. This is one of the standard systems for preventing spam.

- Dave

Joseph Pehrson wrote:
> --- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...> > wrote:
> >>Hello, Guys,
>>
>>After a year or more in 12-pitchland, I've finally completed a
>>microtonal piece for flute, clarinet, keyboard sampler, synthesizer,
>>and fretless bass. It's somewhat inelegantly titled As the Day Is Long
>>(Revisited), > > > > ***Congrats, Kyle, on your recent work. I will listen to it shortly.
> > By the way, what's with your email that people can no longer contact > you, or are returned back as "spam..."
> > Maybe you should take your email address off the ArtsJournal site, > since it gives the appearance that people can actually contact you > about your writings there when, or so it seems, they cannot...
> > Or at least, seemingly *I* cannot... :)
> > In any case, I've been enjoying and following the ArtsJournal entries > regularly...
> > best wishes,
> > Joe Pehrson
> > > > > > > > > Yahoo! Groups Links
> > > > > > >

> Joseph Pehrson wrote:
> >
> > By the way, what's with your email that people can no longer contact
> > you, or are returned back as "spam..."
> >
> > Maybe you should take your email address off the ArtsJournal site,
> > since it gives the appearance that people can actually contact you
> > about your writings there when, or so it seems, they cannot...
> >
> > Or at least, seemingly *I* cannot... :)
> >

Hi Joseph,

Yeah, I've never heard of anyone actually failing to get through to me
if they just follow the directions. I check through my spam every day,
and if I see a sender whose name I recognize (and who isn't one of
those assholes one tries to avoid), I immediately add their address.
The last e-mail I have from you was in February, which was long after
I added the spamblocker - maybe I just didn't answer it because of the
crush of school duties, but I'll look back and do so. Have you written
since then? The spamblocker has saved me many minutes a day that I
used to spend going through and deleting every spam (100s a day)
individually.

Thanks for all the comments. It's really good to feel free from that
12-pitch grid again.

Yours,

Kyle

Hi Kyle,

Thanks for getting back (privately) regarding my question. Yes, I
guess you were just swamped at the time, but nice to know that
readers of ArtsJournal can make comments to you... since you really
are doing the most pertinent analysis of the "new music scene"
around these days... IMHO.

JP

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:
>
> > Joseph Pehrson wrote:
> > >
> > > By the way, what's with your email that people can no longer
contact
> > > you, or are returned back as "spam..."
> > >
> > > Maybe you should take your email address off the ArtsJournal
site,
> > > since it gives the appearance that people can actually contact
you
> > > about your writings there when, or so it seems, they cannot...
> > >
> > > Or at least, seemingly *I* cannot... :)
> > >
>
> Hi Joseph,
>
> Yeah, I've never heard of anyone actually failing to get through
to me
> if they just follow the directions. I check through my spam every
day,
> and if I see a sender whose name I recognize (and who isn't one of
> those assholes one tries to avoid), I immediately add their
address.
> The last e-mail I have from you was in February, which was long
after
> I added the spamblocker - maybe I just didn't answer it because of
the
> crush of school duties, but I'll look back and do so. Have you
written
> since then? The spamblocker has saved me many minutes a day that I
> used to spend going through and deleting every spam (100s a day)
> individually.
>
> Thanks for all the comments. It's really good to feel free from
that
> 12-pitch grid again.
>
> Yours,
>
> Kyle

JP,

{you wrote, to Kyle...}
>... since you really are doing the most pertinent analysis of the "new >music scene" around these days... IMHO.

Your HO is shared.

Cheers,
Jon

On Tuesday 14 June 2005 1:09 pm, kylegann1955 wrote:

> http://www.kylegann.com/Revisited.mp3
>
> Comments welcome; stunned silence also acceptable.

Listening to it now, very nice! But I imagine I would prefer the expressivity
of the actual acoustic performance...You'd really need a quite talented set
of musicians with very patient and skillful hearing!

> While I'm at it, I should mention that I just released a new CD of
> Disklavier music on New World, Nude Rolling Down an Escalator. Not
> relevant, you might think, but the piano I recorded it on was tuned to
> Thomas Young's 1799 Well Temperament. I *think* it's the first CD
> entirely devoted to Disklavier music, but I'm virtually certain that
> it's the first CD of Disklavier music in a historical well
> temperament. Contradict me who can.

This is great news. Undoubtedly my favorite work *ever* of yours is "Bud Ran
Back Out". Looking forward to the release. As for the Disklavier thing, you
may be right about that, but I don't think I'll go through the trouble of
doing the research ;)

All best,
Aaron.

Hi Aaron,

Long time, no talk to. Thanks for your comments.

> Listening to it now, very nice! But I imagine I would prefer the
expressivity
> of the actual acoustic performance...

Me too.

Yours,

Kyle

Jon Szanto wrote:

>JP,
>
>{you wrote, to Kyle...}
> >
>>... since you really are doing the most pertinent analysis of the "new >>music scene" around these days... IMHO.
>> >>
>
>Your HO is shared.
>
> >
Dit-O.

--
* David Beardsley
* microtonal guitar
* http://biink.com/db

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:

Kyle

Interesting and pleasant.

((Possible glitch at 5 minutes and 50 seconds in(?).
If it is a glitch I'm sure it can be removed using
software.))

Very nice.

Stephen Szpak

> Hello, Guys,
>
> After a year or more in 12-pitchland, I've finally completed a
> microtonal piece for flute, clarinet, keyboard sampler,
synthesizer,
> and fretless bass. It's somewhat inelegantly titled As the Day Is
Long
> (Revisited), because it uses tunes from a piece I wrote in 1982
called
> As the Day Is Long. Flutist and supreme new-music masochist Pat
> Spencer, who played in my microtonal opera Cinderella's Bad Magic
and
> actually *enjoyed* the experience, asked me to write something
> microtonal for her and clarinetist Meighan Stoops, so I did. It
> started out with a basic 28-pitch, 11-limit, JI scale, but I ended
up
> adding a few more pitches for melodic exigencies. They'll play it
in
> the fall, and until then I've put up a MIDI version here (timing
13:40):
>
> http://www.kylegann.com/Revisited.mp3
>
> Comments welcome; stunned silence also acceptable.
>
>> Cheers,
>
> Kyle
> "Lurking when you least suspect it since 1998"

--- In MakeMicroMusic@yahoogroups.com, "stephenszpak"
<stephen_szpak@h...> wrote:
> ((Possible glitch at 5 minutes and 50 seconds in(?).
> If it is a glitch I'm sure it can be removed using
> software.))
>

Thanks for the comments, Stephen. Good ear - it's actually not an
audio glitch, though, but an unusually high note in the electric bass
part that sounds weird on this Proteus 1000 I'm using. My son will be
playing the bass part, and I trust he can finess that a little better.
Does always ring out, doesn't it? If it still sounds bad on the bass
I'll take it down an octave.

Thanks,

Kyle

Thanks, Dave...

I guess the email finally *did* get through to Kyle, but he didn't
have time to do the research on it so it sat and he got, logically,
onto something else. He's answered some of my questions
subsequently...

JP

--- In MakeMicroMusic@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> Joe,
>
> You should be able to click through a link in the anti-spam message
that
> comes back, which will bring you to a screen that will allow your
email
> to get through to Kyle. This is one of the standard systems for
> preventing spam.
>
> - Dave
>
>
> Joseph Pehrson wrote:
> > --- In MakeMicroMusic@yahoogroups.com, "kylegann1955"
<kgann@e...>
> > wrote:
> >
> >>Hello, Guys,
> >>
> >>After a year or more in 12-pitchland, I've finally completed a
> >>microtonal piece for flute, clarinet, keyboard sampler,
synthesizer,
> >>and fretless bass. It's somewhat inelegantly titled As the Day Is
Long
> >>(Revisited),
> >
> >
> >
> > ***Congrats, Kyle, on your recent work. I will listen to it
shortly.
> >
> > By the way, what's with your email that people can no longer
contact
> > you, or are returned back as "spam..."
> >
> > Maybe you should take your email address off the ArtsJournal
site,
> > since it gives the appearance that people can actually contact
you
> > about your writings there when, or so it seems, they cannot...
> >
> > Or at least, seemingly *I* cannot... :)
> >
> > In any case, I've been enjoying and following the ArtsJournal
entries
> > regularly...
> >
> > best wishes,
> >
> > Joe Pehrson
> >
> >
> >
> >
> >
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >

Hello, gang,

I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios of
whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr)

Triskaidekaphonia (rim shot)

Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.

mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3

tuning details here: http://www.kylegann.com/Triskaidekaphonia.html

keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf

blog entry here: http://www.artsjournal.com/postclassic/2005/11/
superstition_be_damned.html

A simple piece, over a drone, but it's taken a long time to get those 13-based intervals in
my head. Enjoy!

Yours,

Kyle

kinda like working with the top half of a 13 limit diamond plus 4 in the lower half.
I guess the next one could be the inverse

kylegann1955 wrote:

>Hello, gang,
>
>I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios of >whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr) >
>Triskaidekaphonia (rim shot)
>
>Dedicated to Aaron Krister Johnson for inspiring me to get to work on it. >
>mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>
>tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>
>keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>
>blog entry here: http://www.artsjournal.com/postclassic/2005/11/
>superstition_be_damned.html
>
>A simple piece, over a drone, but it's taken a long time to get those 13-based intervals in >my head. Enjoy!
>
>Yours,
>
>Kyle
>
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

Hi Kraig,

You're right about the top half of a 13-limit diamond, but I don't quite get which 4 are in
the lower half. I did look into using the entire diamond, and maybe I'll do that someday,
but it required 42 pitches, and I needed to get 13/7 in my head before I worried about 25/
13.

Kyle

--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
>
> kinda like working with the top half of a 13 limit diamond plus 4 in the
> lower half.
> I guess the next one could be the inverse
>
> kylegann1955 wrote:
>
> >Hello, gang,
> >
> >I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios
of
> >whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr)
> >
> >Triskaidekaphonia (rim shot)
> >
> >Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
> >
> >mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> >
> >tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> >
> >keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
> >
> >blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> >superstition_be_damned.html
> >
> >A simple piece, over a drone, but it's taken a long time to get those 13-based intervals
in
> >my head. Enjoy!
> >
> >Yours,
> >
> >Kyle
> >
> >
> >
> >
> >
> >
> >
> >
> >Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
> --
> Kraig Grady
> North American Embassy of Anaphoria Island <http://anaphoria.com/>
> The Wandering Medicine Show
> KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>

i got
7/6
7/5
7/4
8/5
below
sketching it out real fast. but i wrote the diamond out 7-8-9-10-11-12-13
i also missed the 9/5
5/3
11/6
i agree you have more than enough to work with with what you have!
i'll load it up tonight, as this is the best time for me to upload large files while i sleep , then enjoy them for breakfast

kylegann1955 wrote:

>Hi Kraig,
>
>You're right about the top half of a 13-limit diamond, but I don't quite get which 4 are in >the lower half. I did look into using the entire diamond, and maybe I'll do that someday, >but it required 42 pitches, and I needed to get 13/7 in my head before I worried about 25/
>13. >
>Kyle
>
>--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
> >
>>kinda like working with the top half of a 13 limit diamond plus 4 in the >>lower half.
>> I guess the next one could be the inverse
>>
>>kylegann1955 wrote:
>>
>> >>
>>>Hello, gang,
>>>
>>>I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios >>> >>>
>of > >
>>>whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr) >>>
>>>Triskaidekaphonia (rim shot)
>>>
>>>Dedicated to Aaron Krister Johnson for inspiring me to get to work on it. >>>
>>>mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>>>
>>>tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>>>
>>>keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>>>
>>>blog entry here: http://www.artsjournal.com/postclassic/2005/11/
>>>superstition_be_damned.html
>>>
>>>A simple piece, over a drone, but it's taken a long time to get those 13-based intervals >>> >>>
>in > >
>>>my head. Enjoy!
>>>
>>>Yours,
>>>
>>>Kyle
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>Yahoo! Groups Links
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> >>>
>>> >>>
>>-- >>Kraig Grady
>>North American Embassy of Anaphoria Island <http://anaphoria.com/>
>>The Wandering Medicine Show
>>KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>>
>> >>
>
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

I get it, I was thinking of a 1-to-13 diamond with lots of redundancies. You guys use
techniques that I'm not used to using. This piece was, conceptually, a little more simple-
minded than that.

Kyle

--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
>
> i got
> 7/6
> 7/5
> 7/4
> 8/5
> below
> sketching it out real fast. but i wrote the diamond out 7-8-9-10-11-12-13
> i also missed the 9/5
> 5/3
> 11/6
>
> i agree you have more than enough to work with with what you have!
> i'll load it up tonight, as this is the best time for me to upload
> large files while i sleep , then enjoy them for breakfast
>
> kylegann1955 wrote:
>
> >Hi Kraig,
> >
> >You're right about the top half of a 13-limit diamond, but I don't quite get which 4 are
in
> >the lower half. I did look into using the entire diamond, and maybe I'll do that
someday,
> >but it required 42 pitches, and I needed to get 13/7 in my head before I worried about
25/
> >13.
> >
> >Kyle
> >
> >--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
> >
> >
> >>kinda like working with the top half of a 13 limit diamond plus 4 in the
> >>lower half.
> >> I guess the next one could be the inverse
> >>
> >>kylegann1955 wrote:
> >>
> >>
> >>
> >>>Hello, gang,
> >>>
> >>>I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the
ratios
> >>>
> >>>
> >of
> >
> >
> >>>whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr)
> >>>
> >>>Triskaidekaphonia (rim shot)
> >>>
> >>>Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
> >>>
> >>>mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> >>>
> >>>tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> >>>
> >>>keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
> >>>
> >>>blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> >>>superstition_be_damned.html
> >>>
> >>>A simple piece, over a drone, but it's taken a long time to get those 13-based
intervals
> >>>
> >>>
> >in
> >
> >
> >>>my head. Enjoy!
> >>>
> >>>Yours,
> >>>
> >>>Kyle
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>Yahoo! Groups Links
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>--
> >>Kraig Grady
> >>North American Embassy of Anaphoria Island <http://anaphoria.com/>
> >>The Wandering Medicine Show
> >>KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
> >>
> >>
> >>
> >
> >
> >
> >
> >
> >
> >
> >
> >Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
> --
> Kraig Grady
> North American Embassy of Anaphoria Island <http://anaphoria.com/>
> The Wandering Medicine Show
> KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>

that's the fun thing we all have our own little way of processing all this stuff, i am sure this pertains to how we learned and visualized this stuff first. i always have to make it into a visual matrix to get it as i don't move numbers quite as fast as some of these others do.
but since you were working with the 13 in combinations with the rest , it seemed to be diamond like, and i had to ponder over it a bit to figure out why it wasn't a diamond. Although i noticed it had way less notes.
1 to 13 makes more sense

kylegann1955 wrote:

>I get it, I was thinking of a 1-to-13 diamond with lots of redundancies. You guys use >techniques that I'm not used to using. This piece was, conceptually, a little more simple-
>minded than that.
>
>Kyle
>
>--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
> >
>>i got
>>7/6
>>7/5
>>7/4
>>8/5
>> below
>>sketching it out real fast. but i wrote the diamond out 7-8-9-10-11-12-13
>>i also missed the 9/5
>>5/3
>>11/6
>> >> i agree you have more than enough to work with with what you have!
>> i'll load it up tonight, as this is the best time for me to upload >>large files while i sleep , then enjoy them for breakfast
>>
>>kylegann1955 wrote:
>>
>> >>
>>>Hi Kraig,
>>>
>>>You're right about the top half of a 13-limit diamond, but I don't quite get which 4 are >>> >>>
>in > >
>>>the lower half. I did look into using the entire diamond, and maybe I'll do that >>> >>>
>someday, > >
>>>but it required 42 pitches, and I needed to get 13/7 in my head before I worried about >>> >>>
>25/
> >
>>>13. >>>
>>>Kyle
>>>
>>>--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> wrote:
>>> >>>
>>> >>>
>>>>kinda like working with the top half of a 13 limit diamond plus 4 in the >>>>lower half.
>>>>I guess the next one could be the inverse
>>>>
>>>>kylegann1955 wrote:
>>>>
>>>> >>>>
>>>> >>>>
>>>>>Hello, gang,
>>>>>
>>>>>I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the >>>>> >>>>>
>ratios > >
>>>>> >>>>>
>>>>> >>>>>
>>>of >>> >>>
>>> >>>
>>>>>whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr) >>>>>
>>>>>Triskaidekaphonia (rim shot)
>>>>>
>>>>>Dedicated to Aaron Krister Johnson for inspiring me to get to work on it. >>>>>
>>>>>mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>>>>>
>>>>>tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>>>>>
>>>>>keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>>>>>
>>>>>blog entry here: http://www.artsjournal.com/postclassic/2005/11/
>>>>>superstition_be_damned.html
>>>>>
>>>>>A simple piece, over a drone, but it's taken a long time to get those 13-based >>>>> >>>>>
>intervals > >
>>>>> >>>>>
>>>>> >>>>>
>>>in >>> >>>
>>> >>>
>>>>>my head. Enjoy!
>>>>>
>>>>>Yours,
>>>>>
>>>>>Kyle
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>Yahoo! Groups Links
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> >>>>>
>>>>> >>>>>
>>>>-- >>>>Kraig Grady
>>>>North American Embassy of Anaphoria Island <http://anaphoria.com/>
>>>>The Wandering Medicine Show
>>>>KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>>>>
>>>> >>>>
>>>> >>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>Yahoo! Groups Links
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> >>>
>>> >>>
>>-- >>Kraig Grady
>>North American Embassy of Anaphoria Island <http://anaphoria.com/>
>>The Wandering Medicine Show
>>KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>>
>> >>
>
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

Great work! I love all your just intonation works. Perhaps reflecting more on me as a listener, I felt the ending somewhat unresolved.

- Magnus Jonsson

On Mon, 14 Nov 2005, kylegann1955 wrote:

> Hello, gang,
>
> I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios of
> whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr)
>
> Triskaidekaphonia (rim shot)
>
> Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
>
> mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>
> tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>
> keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>
> blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> superstition_be_damned.html
>
> A simple piece, over a drone, but it's taken a long time to get those 13-based intervals in
> my head. Enjoy!
>
> Yours,
>
> Kyle

Did Kyle really mean the numbers 1 to 13 without octave-reduction, or
does he assume octave-reduction like Partch? (sorry haven't had a
chance to listen yet . . .) Of 1/13, 8/13, 13/16, 16/13, 13/8, and
13/1, how many are distinguished in the tuning?

--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...>
wrote:
>
> kinda like working with the top half of a 13 limit diamond plus 4
in the
> lower half.
> I guess the next one could be the inverse
>
> kylegann1955 wrote:
>
> >Hello, gang,
> >
> >I've got a new piece, my first ever in 13-limit tuning. The tuning
is simply all the ratios of
> >whole numbers from 1 to 13, and the title is (drum roll:
brbrbrbrbrbrbrbrbr)
> >
> >Triskaidekaphonia (rim shot)
> >
> >Dedicated to Aaron Krister Johnson for inspiring me to get to work
on it.
> >
> >mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> >
> >tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> >
> >keyboard score as PDF here:
http://www.kylegann.com/Triskaidekaphonia.pdf
> >
> >blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> >superstition_be_damned.html
> >
> >A simple piece, over a drone, but it's taken a long time to get
those 13-based intervals in
> >my head. Enjoy!
> >
> >Yours,
> >
> >Kyle
> >
> >
> >
> >
> >
> >
> >
> >
> >Yahoo! Groups Links
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
> --
> Kraig Grady
> North American Embassy of Anaphoria Island <http://anaphoria.com/>
> The Wandering Medicine Show
> KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:
>
> Hi Kraig,
>
> You're right about the top half of a 13-limit diamond, but I don't
quite get which 4 are in
> the lower half. I did look into using the entire diamond, and maybe
I'll do that someday,
> but it required 42 pitches, and I needed to get 13/7 in my head
before I worried about 25/
> 13.

25/13 does not occur in the 13-limit diamond.

no he was reducing to the octave, he has a link to info on the tuning in his message
Paul Erlich wrote:

>Did Kyle really mean the numbers 1 to 13 without octave-reduction, or >does he assume octave-reduction like Partch? (sorry haven't had a >chance to listen yet . . .) Of 1/13, 8/13, 13/16, 16/13, 13/8, and >13/1, how many are distinguished in the tuning?
>
>
>--- In MakeMicroMusic@yahoogroups.com, Kraig Grady <kraiggrady@a...> >wrote:
> >
>>kinda like working with the top half of a 13 limit diamond plus 4 >> >>
>in the > >
>>lower half.
>> I guess the next one could be the inverse
>>
>>kylegann1955 wrote:
>>
>> >>
>>>Hello, gang,
>>>
>>>I've got a new piece, my first ever in 13-limit tuning. The tuning >>> >>>
>is simply all the ratios of > >
>>>whole numbers from 1 to 13, and the title is (drum roll: >>> >>>
>brbrbrbrbrbrbrbrbr) > >
>>>Triskaidekaphonia (rim shot)
>>>
>>>Dedicated to Aaron Krister Johnson for inspiring me to get to work >>> >>>
>on it. > >
>>>mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>>>
>>>tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>>>
>>>keyboard score as PDF here: >>> >>>
>http://www.kylegann.com/Triskaidekaphonia.pdf
> >
>>>blog entry here: http://www.artsjournal.com/postclassic/2005/11/
>>>superstition_be_damned.html
>>>
>>>A simple piece, over a drone, but it's taken a long time to get >>> >>>
>those 13-based intervals in > >
>>>my head. Enjoy!
>>>
>>>Yours,
>>>
>>>Kyle
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>Yahoo! Groups Links
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> >>>
>>> >>>
>>-- >>Kraig Grady
>>North American Embassy of Anaphoria Island <http://anaphoria.com/>
>>The Wandering Medicine Show
>>KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
>>
>> >>
>
>
>
>
>
>
>
> >Yahoo! Groups Links
>
>
>
> >
>
>
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

Ooh. That's definitely one of those pieces that really sounds
microtonal, more than just consonant. I love the note runs up very
small intervals especially. The drone gives it a very coherent sound,
ties together all of the alien sounding chords.

--
~Tristan Parker
http://www.myspace.com/rozencrantz
"Western music is fast because it's out of tune"
-- Terry Riley

Kyle,

Listening now.....very nice, as usual from you!!! Simultaneously edgy and
meditative/hypnotic....

Is this an actual acoustic piano retuned, or some kind of soundfont? Some of
the notes have a real upper partial 'bite' or 'twang'.

I find it interesting that the higher one goes in the harmonic series, the
more one feels obliged to employ drones to 'tie it all together', don't you
think? I mean, do people ever do four-part 13 limit voice leading, with
inversions etc, ala a Bach chorale? Maybe David Doty does....

I haven't tried, but I imagine inversions of 13-limit JI chords can get quite
gnarly....

Thanks for this piece Kyle, and I'm honored to be the dedication recipient!

Best,
Aaron.

P.S. Yes the ending 'drops off a cliff', but I rather like that it does!

On Monday 14 November 2005 12:45 pm, kylegann1955 wrote:
> Hello, gang,
>
> I've got a new piece, my first ever in 13-limit tuning. The tuning is
> simply all the ratios of whole numbers from 1 to 13, and the title is (drum
> roll: brbrbrbrbrbrbrbrbr)
>
> Triskaidekaphonia (rim shot)
>
> Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
>
> mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>
> tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>
> keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>
> blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> superstition_be_damned.html
>
> A simple piece, over a drone, but it's taken a long time to get those
> 13-based intervals in my head. Enjoy!
>
> Yours,
>
> Kyle
>
>
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>

To Paul,

Yes, octaves are all reduced. And as soon as I pressed send on 25/13, I realized I should
have said 24/13 instead. Imprecision is never allowed on the tuning list. I've slapped my
own wrist.

To Kraig,

Yeah, usually I start out with a group of harmonies I want to use, which is perhaps why 13
never fit in. I have a good, jazz-inspired sense of where the 11th harmonic fits in, but I
can't feel the 13th in harmonies. It took thinking of the 13/X scale as a scale of reasonably
consonant steps that I could weave around the tonic to make it possible. I don't usually
think in scales, but maybe I will from now on.

To Aaron,

It's a Proteus sampler, decently like a piano but not as realistic as I'd like. The big problem
is, the pitch gets clinky if you tune too far from the range of the original sample, but
luckily this piece stays within an octave or so. The final cadence is precipitous, but I
prepare for it with my usual repetitions, and I love the cadence from 13/9 and 13/7 (a 9/7
interval, of course) to 3/2 and 2/1. My own Gandini cadence! (Ooh, sorry.) I'm honored to
have you accept.

Cheers, all,

Kyle

--- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@a...> wrote:
>
>
> Kyle,
>
> Listening now.....very nice, as usual from you!!! Simultaneously edgy and
> meditative/hypnotic....
>
> Is this an actual acoustic piano retuned, or some kind of soundfont? Some of
> the notes have a real upper partial 'bite' or 'twang'.
>
> I find it interesting that the higher one goes in the harmonic series, the
> more one feels obliged to employ drones to 'tie it all together', don't you
> think? I mean, do people ever do four-part 13 limit voice leading, with
> inversions etc, ala a Bach chorale? Maybe David Doty does....
>
> I haven't tried, but I imagine inversions of 13-limit JI chords can get quite
> gnarly....
>
> Thanks for this piece Kyle, and I'm honored to be the dedication recipient!
>
> Best,
> Aaron.
>
> P.S. Yes the ending 'drops off a cliff', but I rather like that it does!
>
>
> On Monday 14 November 2005 12:45 pm, kylegann1955 wrote:
> > Hello, gang,
> >
> > I've got a new piece, my first ever in 13-limit tuning. The tuning is
> > simply all the ratios of whole numbers from 1 to 13, and the title is (drum
> > roll: brbrbrbrbrbrbrbrbr)
> >
> > Triskaidekaphonia (rim shot)
> >
> > Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
> >
> > mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> >
> > tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> >
> > keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
> >
> > blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> > superstition_be_damned.html
> >
> > A simple piece, over a drone, but it's taken a long time to get those
> > 13-based intervals in my head. Enjoy!
> >
> > Yours,
> >
> > Kyle
> >
> >
> >
> >
> >
> >
> >
> >
> > Yahoo! Groups Links
> >
> >
> >
>

On Mon, 14 Nov 2005 Kyle Gann wrote:
>
> Hello, gang,
>
> I've got a new piece, my first ever in 13-limit tuning. The tuning is
simply all the ratios of
> whole numbers from 1 to 13, and the title is (drum roll:
brbrbrbrbrbrbrbrbr)
>
> Triskaidekaphonia (rim shot)
>
> Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
>
> mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
>
> tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
>
> keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
>
> blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> superstition_be_damned.html
>
> A simple piece, over a drone, but it's taken a long time to get those
13-based intervals in
> my head. Enjoy!

Kyle,

I like it! Particularly the ostinato figure in the bass,
which starts in 5/8 then gets little bits added (� la
Messiaen?) so that it reappears in 7/8, 9/8, even 13/8.
Very active; it just motors the whole thing along, and
provides a nice backdrop for the treble melody, where
the micro intervals really shine through.

I'd just like to ask 'the Jerry Lewis of new music' ( :-) )
one little question about the composition - where do the
metres come from? Do they relate to the scales? Are
you using serial technique, or ...?

OK, that's three questions, but everyone knows that
mathematicians refuse to count properly - unless you let
them play with imaginary numbers, that is.

Since we're not counting ... you said the piece was
'human playable' ... but was it 'human played' on the
(Proteus sampler) keyboard?

I'll have to play this again a few times to start to _feel_
what you're doing with the metres - to be able to dance
to it. The microtonal melodies, in contrast, seem trans-
parently clear.

Regards,
Yahya

--
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.1.362 / Virus Database: 267.13.0/168 - Release Date: 14/11/05

Wow, Yahya, didn't expect anyone to look at it that closely. I never compose very
systematically anymore. The left-hand patterns had to fulfill two criteria - they had to be
memorable enough for the player to keep them going as a groove (and I'm not sure they
all fulfilled *that* one) and also be composed of 3- and 4-note groupings of 16th notes so
that the right hand melody would sometimes fall sympathetically into a dotted-8th beat in
mid-measure here and there. And then when I found an easily playable 13/8 pattern, I was
happy that the whole piece seemed to revolve around 13. The "feelability" of those
patterns is, I agree, the most questionable aspect of the piece.

I wish I could report that I played the piece on the recording. My left hand doesn't have
much dexterity left these days. I could probably work the piece up over a free summer.
And what I thought of doing was playing it in slow motion into a MIDI sequencer, and then
speeding it up so I could say I "played" it! :^D But in the end I transferred the MIDI file
from Sibelius and humanized the rhythms and velocities considerably in Digital Performer.
If there was even any question that it might have been a real (human) performance, I'm
thrilled.

Thanks,

Kyle

--- In MakeMicroMusic@yahoogroups.com, "Yahya Abdal-Aziz" <yahya@m...> wrote:
>
>
> On Mon, 14 Nov 2005 Kyle Gann wrote:
> >
> > Hello, gang,
> >
> > I've got a new piece, my first ever in 13-limit tuning. The tuning is
> simply all the ratios of
> > whole numbers from 1 to 13, and the title is (drum roll:
> brbrbrbrbrbrbrbrbr)
> >
> > Triskaidekaphonia (rim shot)
> >
> > Dedicated to Aaron Krister Johnson for inspiring me to get to work on it.
> >
> > mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> >
> > tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> >
> > keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
> >
> > blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> > superstition_be_damned.html
> >
> > A simple piece, over a drone, but it's taken a long time to get those
> 13-based intervals in
> > my head. Enjoy!
>
>
> Kyle,
>
> I like it! Particularly the ostinato figure in the bass,
> which starts in 5/8 then gets little bits added (à la
> Messiaen?) so that it reappears in 7/8, 9/8, even 13/8.
> Very active; it just motors the whole thing along, and
> provides a nice backdrop for the treble melody, where
> the micro intervals really shine through.
>
> I'd just like to ask 'the Jerry Lewis of new music' ( :-) )
> one little question about the composition - where do the
> metres come from? Do they relate to the scales? Are
> you using serial technique, or ...?
>
> OK, that's three questions, but everyone knows that
> mathematicians refuse to count properly - unless you let
> them play with imaginary numbers, that is.
>
> Since we're not counting ... you said the piece was
> 'human playable' ... but was it 'human played' on the
> (Proteus sampler) keyboard?
>
> I'll have to play this again a few times to start to _feel_
> what you're doing with the metres - to be able to dance
> to it. The microtonal melodies, in contrast, seem trans-
> parently clear.
>
> Regards,
> Yahya
>
> --
> No virus found in this outgoing message.
> Checked by AVG Free Edition.
> Version: 7.1.362 / Virus Database: 267.13.0/168 - Release Date: 14/11/05
>

--- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@a...> wrote:
>
> I find it interesting that the higher one goes in the harmonic series, the
> more one feels obliged to employ drones to 'tie it all together', don't you
> think? I mean, do people ever do four-part 13 limit voice leading, with
> inversions etc, ala a Bach chorale? Maybe David Doty does....

Actually, when I started out writing in JI, my first few pieces contained drones - if only as
pivot pitches to hang the different harmonic series' on. I didn't feel secure enough to do it
any other way, and I find it funny that, after 20 years of JI and several years of working out
13-limit tunings, I once again had to go back to a drone to finally get one finished. But I've
got a couple of tunings with 13/8 as a potential bass note/root, and I'm hoping the next
13-limit piece will be droneless.

Nevertheless, I think the best evidence for your suspicion here is in Ben Johnston's music.
He hasn't used drones that I know of, but the higher the harmonics he uses, the more he
limits the number of harmonic series' allowed. When he went up to the 29th and 31st
harmonic in his Quartet No. 9, he only used, I think, four - a harmonic series on C, one on
G, and an undertone series on (I seem to recall) both of those pitches - or maybe it was
only C. And his pieces that use the 41st and 43rd harmonics are even more limited. So I
think you're right, that if you want those harmonics *heard* as harmonics, you've really
got to sacrifice harmonic variety to give enough overtone support. Seems to me.

Cheers,

Kyle

On Tuesday 15 November 2005 8:54 am, kylegann1955 wrote:
> --- In MakeMicroMusic@yahoogroups.com, Aaron Krister Johnson <aaron@a...>
wrote:
> > I find it interesting that the higher one goes in the harmonic series,
> > the more one feels obliged to employ drones to 'tie it all together',
> > don't you think? I mean, do people ever do four-part 13 limit voice
> > leading, with inversions etc, ala a Bach chorale? Maybe David Doty
> > does....
>
> Actually, when I started out writing in JI, my first few pieces contained
> drones - if only as pivot pitches to hang the different harmonic series'
> on. I didn't feel secure enough to do it any other way, and I find it funny
> that, after 20 years of JI and several years of working out 13-limit
> tunings, I once again had to go back to a drone to finally get one
> finished. But I've got a couple of tunings with 13/8 as a potential bass
> note/root, and I'm hoping the next 13-limit piece will be droneless.
>
> Nevertheless, I think the best evidence for your suspicion here is in Ben
> Johnston's music. He hasn't used drones that I know of, but the higher the
> harmonics he uses, the more he limits the number of harmonic series'
> allowed. When he went up to the 29th and 31st harmonic in his Quartet No.
> 9, he only used, I think, four - a harmonic series on C, one on G, and an
> undertone series on (I seem to recall) both of those pitches - or maybe it
> was only C. And his pieces that use the 41st and 43rd harmonics are even
> more limited. So I think you're right, that if you want those harmonics
> *heard* as harmonics, you've really got to sacrifice harmonic variety to
> give enough overtone support. Seems to me.

Also, come to think of it, jazz, which could be said to be implying upper
partials in its 'altered chord' harmony. is 99.99% root-position based voice
leading.

But, yes, it seems clear to me that these chord would only jive with the ear
if they are put where they make sense in the overtone series. Perhaps the
reason we can accept 5-limit harmony in so many inversions is that multiples
of the lower harmonics occur in, well, multiple positions enough in the
audible range of harmonics?

Although, I have to say, some utonal harmonies sound really delicious to me.

-Aaron.

kylegann1955 wrote:

>Hello, gang,
>
>I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios of >whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr) >
>Triskaidekaphonia (rim shot)
>
>Dedicated to Aaron Krister Johnson for inspiring me to get to work on it. >
I don't have too much to add to every one's comments. Other than I dig it. I should look into
playing the right hand part on my guitar.

--
* David Beardsley
* microtonal guitar
* http://biink.com/db

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...>
wrote:
>
> To Paul,
>
> Yes, octaves are all reduced. And as soon as I pressed send on
25/13, I realized I should
> have said 24/13 instead. Imprecision is never allowed on the tuning
list. I've slapped my
> own wrist.
>
> To Kraig,
>
> Yeah, usually I start out with a group of harmonies I want to use,
which is perhaps why 13
> never fit in. I have a good, jazz-inspired sense of where the 11th
harmonic fits in, but I
> can't feel the 13th in harmonies.

I can only occasionally, as part of some microtonal voice leading (as
Aaron suggested), so I sympathize.

> It took thinking of the 13/X scale as a scale of reasonably
> consonant steps that I could weave around the tonic to make it
possible. I don't usually
> think in scales, but maybe I will from now on.

If you're interested in 13-limit JI *scales*, there are a wealth
of "Constant Structure" suggestions we can make for you (probably one
of the other lists would be best). Most typical would be scales with
29 or 41 notes, but other numbers are possible. Also if one allows
for a little temperament (blashpemy!), one can squeeze more of the
nice 13-limit chords out of a given number of notes.

I look forward to listening to your piece when I get a chance.

On Tue, 15 Nov 2005, kylegann1955wrote:
>
> Wow, Yahya, didn't expect anyone to look at it that closely. ...

Sorry, I find it impossible to give only superficial
attention to music ... !

> ... I never compose very
> systematically anymore. The left-hand patterns had to fulfill two
criteria - they had to be
> memorable enough for the player to keep them going as a groove (and I'm
not sure they
> all fulfilled *that* one) ...

Yes, I thought it might take a bit of work to memorise some
of the rhythmic shifts. Still, I expect the effort would be
well rewarded, if only because it would add to the performer's
(OK, my) ability to provide an ad-lib fill pattern with shifting
metres. I think the kind of thing you did there would be a
great basis for improvisation.

On the question of almost needing to use a drone in higher
limits, such as 13 and upwards, I don't think you do. One
thing I like to do with a rhythmic motif is transpose it over
successive scale or chord degrees to give an overall archi-
tecture to larger groups of phrases. Which is the kind of
thing I'd like to try with those rhythmic patterns of yours.

> ... and also be composed of 3- and 4-note groupings of 16th notes so
> that the right hand melody would sometimes fall sympathetically into a
dotted-8th beat in
> mid-measure here and there. And then when I found an easily playable 13/8
pattern, ...

And what a find it was! I think I'll steal it. :-)

> ... I was
> happy that the whole piece seemed to revolve around 13. The "feelability"
of those
> patterns is, I agree, the most questionable aspect of the piece.

More the "feelability" of the shifts between them, I think.

I've noticed that whenever I set up unusual metrical patterns,
simple repetition of each one provides a good way of making
the pattern feelable; so much so, that even with a series of
five different patterns, say v, w, x, y, and z, laying them out
as vvwwxxyyzz provides a lot of coherence.

> I wish I could report that I played the piece on the recording. My left
hand doesn't have
> much dexterity left these days. I could probably work the piece up over a
free summer.
> And what I thought of doing was playing it in slow motion into a MIDI
sequencer, and then
> speeding it up so I could say I "played" it! :^D But in the end I
transferred the MIDI file
> from Sibelius and humanized the rhythms and velocities considerably in
Digital Performer.
> If there was even any question that it might have been a real (human)
performance, I'm
> thrilled.

It felt to me like the kind of thing a good human performer
could produce. So your humanising was quite sucessful.

> Thanks,
> Kyle

The pleasure was mine.
Yahya

--
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.1.362 / Virus Database: 267.13.3/172 - Release Date: 15/11/05

Kyle,
What a terrific piece. Loved especially the cadence at the end. Would it be ok to include it on a future Podcast? (I'm a little behind on the schedule).

Prent Rodgers

> Message: 2 > Date: Mon, 14 Nov 2005 18:45:51 -0000
> From: "kylegann1955" <kgann@...>
> Subject: New piece
> > Hello, gang,
> > I've got a new piece, my first ever in 13-limit tuning. The tuning is simply all the ratios of > whole numbers from 1 to 13, and the title is (drum roll: brbrbrbrbrbrbrbrbr) > > Triskaidekaphonia (rim shot)
> > Dedicated to Aaron Krister Johnson for inspiring me to get to work on it. > > mp3 here: http://www.kylegann.com/Triskaidekaphonia.mp3
> > tuning details here: http://www.kylegann.com/Triskaidekaphonia.html
> > keyboard score as PDF here: http://www.kylegann.com/Triskaidekaphonia.pdf
> > blog entry here: http://www.artsjournal.com/postclassic/2005/11/
> superstition_be_damned.html
> > A simple piece, over a drone, but it's taken a long time to get those 13-based intervals in > my head. Enjoy!
> > Yours,
> > Kyle
>

Hello,

I was listening and wanted to try it myself, so I painstakingly made a
Scala file, (in relation to the lowest note) (with duplicates for
unused keys):

! /Users/jb/Scales/new/gann13.scl
!
for playing kyle gann's triskaidekaphonia
60
!
1/1
2/1
2/1
3/1
7/2
7/2
4/1
4/1
6/1
44/7
32/5
13/2
20/3
48/7
7/1
36/5
22/3
52/7
8/1
26/3
96/11
44/5
80/9
9/1
64/7
28/3
104/11
48/5
88/9
10/1
72/7
52/5
32/3
11/1
56/5
80/7
104/9
12/1
88/7
64/5
13/1
40/3
96/7
14/1
72/5
44/3
104/7
16/1
52/3
192/11
88/5
160/9
18/1
128/7
56/3
208/11
96/5
176/9
20/1
144/7

It was much fun to read through it. Pretty tricky, especially with a
keyboard three inches *below* my desk surface, having to navigate that
crazy mapping by feel alone. Pretty 13-ful.

With this and Chris Bryan's vocal piece, I have the makings of a Rice
concert of the microtonal music of people I've never seen before!
...maybe.

Jacob

Jacob,

Looks to me like you got it right. Thanks for being so interested. I suppose Scala still only
works for PCs, not for Macs....

Yours,

Kyle

--- In MakeMicroMusic@yahoogroups.com, "Jacob" <jbarton@r...> wrote:
>
> Hello,
>
> I was listening and wanted to try it myself, so I painstakingly made a
> Scala file, (in relation to the lowest note) (with duplicates for
> unused keys):
>
> ! /Users/jb/Scales/new/gann13.scl
> !
> for playing kyle gann's triskaidekaphonia
> 60
> !
> 1/1
> 2/1
> 2/1
> 3/1
> 7/2
> 7/2
> 4/1
> 4/1
> 6/1
> 44/7
> 32/5
> 13/2
> 20/3
> 48/7
> 7/1
> 36/5
> 22/3
> 52/7
> 8/1
> 26/3
> 96/11
> 44/5
> 80/9
> 9/1
> 64/7
> 28/3
> 104/11
> 48/5
> 88/9
> 10/1
> 72/7
> 52/5
> 32/3
> 11/1
> 56/5
> 80/7
> 104/9
> 12/1
> 88/7
> 64/5
> 13/1
> 40/3
> 96/7
> 14/1
> 72/5
> 44/3
> 104/7
> 16/1
> 52/3
> 192/11
> 88/5
> 160/9
> 18/1
> 128/7
> 56/3
> 208/11
> 96/5
> 176/9
> 20/1
> 144/7
>
> It was much fun to read through it. Pretty tricky, especially with a
> keyboard three inches *below* my desk surface, having to navigate that
> crazy mapping by feel alone. Pretty 13-ful.
>
> With this and Chris Bryan's vocal piece, I have the makings of a Rice
> concert of the microtonal music of people I've never seen before!
> ...maybe.
>
> Jacob
>

Oh, not true. The highlight of the year 2004 for me was the release of
Scala for Mac, which runs with X11 (free) and is able to do live midi
relaying and thus transcend such range restrictions as you have had. I
think it needs at least OSX Panther though.

--- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...> wrote:
>
> Jacob,
>
> Looks to me like you got it right. Thanks for being so interested. I
suppose Scala still only
> works for PCs, not for Macs....
>
> Yours,
>
> Kyle

Thanks for the tip, Jacob. Downloaded it today. Now if I can just make it work.

Kyle

--- In MakeMicroMusic@yahoogroups.com, "Jacob" <jbarton@r...> wrote:
>
> Oh, not true. The highlight of the year 2004 for me was the release of
> Scala for Mac, which runs with X11 (free) and is able to do live midi
> relaying and thus transcend such range restrictions as you have had. I
> think it needs at least OSX Panther though.
>
>
> --- In MakeMicroMusic@yahoogroups.com, "kylegann1955" <kgann@e...> wrote:
> >
> > Jacob,
> >
> > Looks to me like you got it right. Thanks for being so interested. I
> suppose Scala still only
> > works for PCs, not for Macs....
> >
> > Yours,
> >
> > Kyle
>

the opening theme to Kyles piece sounds like a perverted variation of bolero up to the first big cadence . the 2nd part i liked but had less of an easy time to associate with something, since the first part already got me associating.
the last part i liked all those parallel like progressions almost like ry cooder was playin along with you.
the best thing about the tuning as its doesn't show at all, it seems to flow out of the ear more than some mathematical a priori.
a better blues like scale than nacarrow for sure
Sorry it too me so long.
i still have some left to do.
i have had concerts, fires more on the latter later

> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles