Evolution

Carl Lumma wrote [TD 68]:

> The thing opens up a whole new
> reason to get picky about one's
> definition of "time".

And let's not forget that the two
fundamental bases of tuning and
harmony (and sound in general)
are the movements of air molecules
and the *time* it takes us to observe
and comprehend those movements.

Carl again:

> compositional practice may narrow
> down the options real fast; what
> about a song that makes a point of
> emphasising the difference between
> 400 cents and 5/4?

I agree with this completely. Part of
the fascination I have with tuning is
exploring what frequencies a composer
had in mind while writing a piece, and
what made him choose the tuning he
actually expected to be used.

- Monzo
http://www.ixpres.com/interval/homepage.html
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http://microtones.com

NEW RELEASE! Jon Catler's 'Evolution for Electric Guitar and Orchestra'
is now available from FreeNote Records. Performed in 62-Tone Just
Intonation, this four movement symphonic work builds from sustained
Harmonic resonance, to tight unison passages, to driving tribal
rythmns, leading to a high-paced finale. Conducted by Grammy award
winner Joel Thome (Frank Zappa, Steve Vai) and led by Catler's
62-note per octave guitar, the orchestra features some of New York's
top musicians in a daring, landmark work. Instrumentation: 2 Just
Intonation guitars, 2 violins, viola, cello, upright bass, electric
JI bass, percussion, and 2 vocalists, all in 13-limit Harmonic Series
tuning. If you're interested in hearing the evolution of tuning
and what can be done with the Harmonic Series in 2001, get this CD.
This is a Limited Edition pressing. To order, send $15 check or
money order payable to:

FreeNote Records
2350 Broadway #240
NY, NY 10024

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

David,

{you wrote...}
>NEW RELEASE! Jon Catler's 'Evolution for Electric Guitar and Orchestra'
[snip]
>the orchestra features some of New York's top musicians in a daring, >landmark work. Instrumentation: 2 Just Intonation guitars, 2 violins, >viola, cello,
>upright bass, electric JI bass, percussion, and 2 vocalists

How does that add up to an "orchestra"? Don't get me wrong, I'll mail my check on Tuesday, simply based on Catler's and Thomes track record, but what ever happened to truth in advertising?

Oh well, FZ would be proud anyway...

Cheers,
Jon

`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`'`
Real Life: Orchestral Percussionist
Web Life: "Corporeal Meadows" - about Harry Partch
http://www.corporeal.com/

"Jonathan M. Szanto" wrote:
>
> David,
>
> {you wrote...}
> >NEW RELEASE! Jon Catler's 'Evolution for Electric Guitar and Orchestra'
> [snip]
> >the orchestra features some of New York's top musicians in a daring,
> >landmark work. Instrumentation: 2 Just Intonation guitars, 2 violins,
> >viola, cello,
> >upright bass, electric JI bass, percussion, and 2 vocalists
>
> How does that add up to an "orchestra"? Don't get me wrong, I'll mail my
> check on Tuesday, simply based on Catler's and Thomes track record, but
> what ever happened to truth in advertising?
>
> Oh well, FZ would be proud anyway...

It's the low budget version.

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

--- In tuning@y..., David Beardsley <xouoxno@v...> wrote:
> It's the low budget version.

Hah! I've even played, in a transcriptitory mood, Frank's "Concerto
for Clarinet (Guitar) [later Marimba, for me] and Low Budget
Orchestra"...

Cheers,
Jon

"Jonathan M. Szanto" wrote:

> How does that add up to an "orchestra"?

Mahavishnu Orchestra, Electric Light Orchestra...

--
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

Dave,

> > How does that add up to an "orchestra"?

> Mahavishnu Orchestra, Electric Light Orchestra...

Ah, down-sizing in the 70's. Me, I like my "orchestras" big and fat,
but that reminds me of a concert I did years ago (maybe it was with
Benny Goodman as guest). There was a local (and really wild) jazz
pianist hired to play in the rhythm section, and he was seated pretty
much down front and center. At one point he turned to my friend, the
drummer, and said "How can so many people make such a small sound?"

Cheers,
Jon