Ooogaaah mp3(s) up. enjoy

> Sometimes tuning list contributor Christopher Bailey
>site... however, it appears as though the site has disappeared --
>(I've also had the opportunity to hear some of Chris's music, and I
>was very, very impressed... some exceptionally vivid music!)

Thanks Dan . . . the feeling is entirely mutual.
Sorry, I was on vacation and our sys-admin changed our web address ever so
slightly. It's just the worst feeling to have one's web address
tilda-fied.

Anyway, I feel obliged by the above commentary to put something
tuning-relevant up for web-listening, so my piece "Ooogaaah:
Dungeony Specimen Spaceship" can be found at

http://music.columbia.edu/~chris/tunes.html

Though the piece certainly deals with tuning issues, it was written (or
"realized" as they say (it's electronic) ) before I got on the list here,
and uses some techniques which I haven't really seen discussed on the list
since I've been on. That being the case, I'll mention a bit about how I
dealt with the tuning issues in it.

Basically, I started from the standpoint of sound (harmonic) analysis,
(starting with real live sounds and extracting musical/tuning data from
them) rather than "synthesis" (i.e. theorizing ideal objects and trying
to realize them with real live sounds).

In the case of this piece, I analyzed a particular sonority/moment/chord
from an early 80's pop song (take a guess which one if you like),
discovering it's "spectrum" which lies somewhere in between "harmonic" and
"inharmonic." (more towards the former) This "ur-chord" if you will,
appears most explicitly towards the end of the piece in various guises
(sung, played by quiet bells, etc.). Now, just as composers using
Just-Intonation often derive scales from the "pure" overtone series, so I
treated this "impure" chord/sonority/moment-spectrum as a "scale" source,
and derived about 20 random 7-note scales from it's pitches, and chose
about 4 of those, by ear, to use in the piece. The intervals of these
scales are weird and arbitrary I guess, in fact I couldn't tell you what
they are off the top of my head, (though I can retrieve some exact values
in cents if anyone's interested) but they seemed to make good aural
sense/contrast to me at the time. If you are familiar with the European
"spectral school" of composers (Murail, Grisey, Hurel, etc.) you might
think of what I did in this piece as a cross between
"spectral-(harmonic)-" microtonality and the more "tuning-(and therefore
scale)-oriented" microtonality that's discussed on on the list here.

There's a lot of other garbage in the piece too, samples,
random noisey stuff, etc.

Anyway, enjoy.

***From: Christopher Bailey******************

http://music.columbia.edu/~chris

**********************************************