Yahoo Tuning Groups Ultimate Backup makemicromusic music links

Well, most people coming to this list probably have Web links to my
music, but I will tediously give them again! :)

This piece for viola and electronics is in an "alternate" tuning
system. It uses a scale of 12 notes derived from the "hexany," an
arithmetic process to create pitches. The pitches for this piece, in
ratios are: 1/1, 35/32, 9/8, 5/4, 21/16, 45/32, 3/2, 105/64, 27/16,
7/4, 15/8, 63/32, 2/1. This piece was premiered in Moscow with Vera
Gubenkova, viola. This recording was in the electronic music studio
of the famous Moscow Conservatory. Score and parts available through
Composers Concordance. E-mail: info@....

http://artists.mp3s.com/artist_song/1416/1416053.html

Electronic work:
19 tones per octave, from a seven-limit JI 19-tone scale.

http://artists.mp3s.com/artist_song/700/700143.html

Electronic piece based on the 6-note hexany 1.3.5.11 with 1.11 as the
root, yielding the ratios 1/1, 12/11, 5/4, 15/11, 3/2, 20/11 and 2/1

http://artists.mp3s.com/artist_song/749/749501.html

Electronic piece in the Bohlen-Pierce scale. Thumbnail portrait is of
the scale's inventor, Heinz Bohlen.

http://artists.mp3s.com/artist_song/1286/1286819.html

Electronic piece in 1/8th tones, or 48 tone equal temperament.

http://artists.mp3s.com/artist_song/505/505717.html

And some acoustic pieces in "alternate tunings:"

(1997) This is a new piece for Theremin, here played by Moscow-based
Theremin virtuoso Lydia Kavina. You know the Theremin... that little
black box that goes "Wuuuu, wuuuu, wuuuu" when you approach it...
Score currently available through Composers Concordance, P.O Box
20548 PABT, NYC 10129 or e-mail: info@...

http://artists.mp3s.com/artist_song/573/573549.html

This work (1999) was written for a very special guitar. Each fret on
each string can be placed SEPARATELY anywhere on the instrument! Wim
Hoogewerf designed the particular tuning system for this piece, which
is in his own "flavor" of just intonation...

http://artists.mp3s.com/artist_song/1049/1049481.html

(1987) This is a piece for solo French horn in just intonation. It's
pretty easy to write in just intonation for horn... all the pitches
are easily there, the performer just has to be willing to play them!
Here the piece is performed superbly by virtuoso performer Francis
Orval, who was also independently interested in just intonation.
Score available through music dealers or Seesaw Music Corp., 2067
Broadway, NYC 10023. (212)874-1200

http://artists.mp3s.com/artist_song/585/585664.html

(1998) This piece is in 1/8 tones, i.e. 48 tones per octave. Here it
is performed by the redoubtable Johnny Reinhard, who executed it with
ease. It also got a nice little mention in the NY Times... Score
available through Composers Concordance, P.O. Box 20548 PABT, NYC,
10129 or e-mail: info@...

http://artists.mp3s.com/artist_song/582/582998.html

(1987) This piece is for two French horns in Just Intonation. It was
my first attempt in writing in this alternate tuning at the
suggestion of Francis Orval, who was very interested in it. He
performs here with his wife Ruby. The Orval's took this piece on a
tour of Western states in 1987. Although not as involved or
accomplished as my HARMONIC ETUDE for SOLO horn in Just Intonation,
written subsequently, it certainly does feature the harmonic series.
It was also the first piece of mine to be picked up as
a "circulating" score by the New York Public Library. There are now
also several others. Score available at music dealers or through
Seesaw Music Corp., 2067 Broadway, NYC 10023 (212) 874-1200.

http://artists.mp3s.com/artist_song/590/590557.html

NOW ON TO THE COMMENTARY:

I have to confess that one of the problems I have with people's
responses to my music is that they are too exceedingly "polite."

I can't learning anything that way. Everybody nods their heads, yes,
yes, yes, like the end of Ulysses... and no feelings are hurt.

But, my music doesn't get any better that way.

As a contrary example... a friend of mine recently commented on one
of my electronic works: "You know, you should really try to stay away
from that cheesy MIDI clarinet...."

Frankly, when I wrote the piece, I wasn't thinking of that sound *at
all* as being a clarinet... It was just an electronic sound that I
happened to be using. Since it really didn't *sound* like a real
clarinet, I wasn't thinking of it that way.

HOWEVER, it is *more* than possible that other people would think of
it in that way... and so, for that reason, after this honest and
critical evaluation of my friend, I have endeavored to stay away from
MIDI sounds that emulate *any* "real" instruments, whenever possible.

On another topic... I am quite well aware that my equipment is
limited. For that reason, I am perfectly aware that I don't use as
much "post sequencing" processing as somebody like the MIDI-master
Jacky Ligon. However, I hope, to a certain extent, my music is
strong enough to override the equipment limitations.

I *am* aware of those, however. People are welcome to comment on
*that* aspect but, in short, there's not a whole lot I can do about
that at this point... however, I have been learning SOUND FORGE which
may be a software solution that will help a bit.

At a recent American Composers Forum meeting I asked for explicitly
candid criticism. Several of the people there had only limited
experience or interest in microtonal music. However, I got some good
commentary. There was an "old fogey" who could only say "I don't
like it..." and "I don't like electronic sounds..." That wasn't too
helpful, but otherwise the commentary was fruitful, even when
negative.

So please, blast away. I *welcome* negative feedback.

I mean, I will *accept* positive, too, if someone insists on it...

__________ _______ _____
Joseph Pehrson

--- In MakeMicroMusic@y..., jpehrson@r... wrote:
> I have to confess that one of the problems I have with people's
> responses to my music is that they are too exceedingly "polite."

Well, if you'd would write something bad, maybe we could criticize it.
Did you ever think of that? HUH?! (I'm not holding my breath. :)

> after this honest and
> critical evaluation of my friend, I have endeavored to stay away
from
> MIDI sounds that emulate *any* "real" instruments, whenever
possible.

That's an admirable goal. One way to go is to pick synthesized
timbres which fill a similar role to an acoustic instrument rather
than emulating it. Then you're at least on familiar ground. I find
often that one truly bizarre timbre at a time is enough to handle.

> There was an "old fogey" who could only say "I don't
> like it..." and "I don't like electronic sounds..."

Oh, that was Dan Stearns, right? 8-)> hee hee

Seriously, that reminds me of when I met Owen Bradley. (He was
perhaps the most influential producer in the early days of country
music - hundreds of gold and platinum records, classic hits up the
wazoo.) This was 1995. I was recording demos for Michelle Tumes, who
has a sort of Euro sound, in a studio he owned. He happened by that
day, took one listen and said, "Are those them damn loops?" I said,
"Um..., no sir, it's mostly samples played with MIDI but all recorded
in real time." "Hmph," he muttered, "I hate them damn loops."
Cheerful fellow. May rest in peace.

David

music links

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🔗David J. Finnamore <daeron@...>

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