microtonal mp3.com spam

folks,

I finally started a mp3.com page for my music. There is
one piece at http://mp3.com/davidbeardsley and another
at http://mp3.com/xouoxno

There are more pieces coming. Just waiting for the busy
mp3.com people to approve them.

--
* 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

--- In tuning@egroups.com, David Beardsley <xouoxno@v...> wrote:
> folks,
>
> I finally started a mp3.com page for my music. There is
> one piece at http://mp3.com/davidbeardsley and another
> at http://mp3.com/xouoxno
>
> There are more pieces coming. Just waiting for the busy
> mp3.com people to approve them.
>
> * D a v i d B e a r d s l e y

David,

Thanks so much for making this music available to us!!! This is what
microtonality is all about. Below are a few of my first impressions:

Ar Tar: A beautiful "Ambient" piece with gentle beating chordal
clouds.

Late Winter Day: A gorgeous, dreamy "Enoesque" piece (meant as the
highest possible compliment). Love this!!!

A Million Ascending Bubbles: A darker Ambient approach with
beautiful metal overtone sustaining timbres. This is a
wonderful "mood"!

Genesis of a Raindrop: A soft drone piece with long held pitches and
slow evolution. I love the tension that happens on into the piece
when more dissonant intervals are interjected.

Folks - here is a guy who's got it going on!!!

Thanks,

Jacky Ligon

ligonj@northstate.net wrote:

> David,
>
> Thanks so much for making this music available to us!!! This is what
> microtonality is all about. Below are a few of my first impressions:
>
> Ar Tar: A beautiful "Ambient" piece with gentle beating chordal
> clouds.

It's actually a 28 second loop that has 8 (I think) copies
echoing along behind it in stereo. Then after I mixed it
down to stereo, I made another copy and delayed that too.
Turn it up and you can hear faint traces of older material.
17 limit JI - my first new piece of the new millennium!

> Late Winter Day: A gorgeous, dreamy "Enoesque" piece (meant as the
> highest possible compliment). Love this!!!

Microtonality was achieved by recording each track at a different
tape speed. This is a really old track, maybe 6 or 7 years old.
It's a Roland SH101 that's been on what seems to be permanent
loan to me. Thanks for the Eno ref - it reminds me of something
off of Apollo.

These other two pieces just kind of popped up there this afternoon.
Because of the holidays, it took about 14 days for these tracks to get
approved.

> A Million Ascending Bubbles: A darker Ambient approach with
> beautiful metal overtone sustaining timbres. This is a
> wonderful "mood"!

This could be the SH101, but could also be a Casio. A digital
delay warps the pitches. I remember stumbling onto this sound
and a light bulb went off in my head: get this on tape!

> Genesis of a Raindrop: A soft drone piece with long held pitches and
> slow evolution. I love the tension that happens on into the piece
> when more dissonant intervals are interjected.

Actually a serial 12tet piece inspired by hearing La Monte Young
explain his Trio for Strings on the radio. A very old piece from
my pre-JI days.

> Folks - here is a guy who's got it going on!!!

And thank you for being so generous with you compliments Jacky.

A more recent 19-limit JI piece for two pianos is coming in
the near future.

db

--
* 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

Greetings to everyone here...

I have just joined this group two days ago, and so far I have been quite
impressed with all the emails and the information and the music that's
being passed through.

I have been always fascinated by what I call "geometry of sound". The
geometry that certain music makes, and the ways in which the sounds
interact.

On the other hand, I've also been quite interested in the interaction of
words with music. In other words, what would happen if we take a certain
text (poem, novel, etc.), and substitute notes for letters, and run it
through a program, and have it recite that poem in music.

Does anyone know if this has been done in the past? and how it was done?

I'm a newbie to this field, and I'd like to explore it some more. I have a
lot of ideas that I'd like to start putting to work, yet I'm finding
myself at a loss for the "language" of music. I haven't had music theory
for over 20 years, and I don't know what apps I'll need, or how to begin.

I appreciate any feedback, and in the meantime, I'll continue to enjoy the
wonderful exchanges taking place here.

Lilly

"Lilly S." wrote:

> On the other hand, I've also been quite interested in the interaction of
> words with music. In other words, what would happen if we take a certain
> text (poem, novel, etc.), and substitute notes for letters, and run it
> through a program, and have it recite that poem in music.

Vocoder? I have a Korg ms2000 that is tunable but I haven't tried the
vocoder yet.

--
* 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

Hello.

"Lilly S." wrote:
> On the other hand, I've also been quite interested in the interaction of
> words with music. In other words, what would happen if we take a certain
> text (poem, novel, etc.), and substitute notes for letters, and run it
> through a program, and have it recite that poem in music.
> [...snip...]

If you mean using text as material for algorithmic composition and you
don't mind a little computer programming, you may give a try to Csound +
Python + pmask. This should be a nice job to do in Python and pmask is a
collection of Python objects for algorithmic composition. By the way,
using the pmask.pitch module you have access to a 2000+ scales database
(derived from Scala) so you can easily experiment tunings too.
This is obviously one of the many way you can do your experiments in
this field.

Maurizio Umberto Puxeddu

--- In tuning@egroups.com, David Beardsley <xouoxno@v...> wrote:

> Thanks for the Eno ref - it reminds me of something
> off of Apollo.

You know, Eno is another composer who has also mystified me greatly,
in the fact that he has never (at least openly) embraced
microtonality.

I remember back in the day, he was one of the most respected "big
name" programmers of the DX7 synthesizer. He was there at the dawn of
commercially available microtonally tunable synths, yet he seems to
have remained content with 12tET.

Still, I love almost all of his music. Recently I broke out one of my
favorite Eno albums (a collaborative effort), called "My Life In The
Bush Of Ghosts", and this album is just a fresh as the first time I
heard it - a true classic! I literally wore out copies of this from
playing it so much. This was an important release, of formative
influence for me, which still plays into the sound of some of
my "world beat" music today. David Byrne does some cool Arabic
sounding guitar stuff here, but this also had Adrian Belew too.

I recall reading in an interview with John Hassell, that he felt that
Byrne and Eno, robbed this idea from him, and went on to popularize
this style.

I also deeply revere John Hassell, as he was also a student of Pran
Nath. As we know, anyone who was, is worth hearing (Don Cherry
anyone?)

Anybody heard "Fascinoma"; a recent release from Hassell? Has some
lovely takes of "Caravan". A beautiful acoustic recording!

>
> A more recent 19-limit JI piece for two pianos is coming in
> the near future.
>

I'll be eagerly awaiting this!!!

Jacky Ligon