new piece up

I just put a new piece up, "Improvisation II: Kiss of the Gamelan
Goddess" at http://music.columbia.edu/~chris/tunes.html

First: It is a "constrained improvisation" piece, where I supply some
wacky-looking score pages (for an example from Improv. I, see
http://music.columbia.edu/~chris/kuss.html ) to the players, which have
instructions /suggestions on how to make a piece of music, varying from
explicit notes and timings, to more suggestive graphic images, suggestive
of texture, energy level, process, etc.

In this case, the "realization" of the work was done entirely with
computer-music techniques (using CMIX (running on linux) which is a
relative of Csound). I did this, because I wanted to see if the form of
the piece could work, before I sic it on a buunch of hapless musicians.
Well, I'm still not sure if the form works, but I think the result is
pretty fun, so . . .

Anyway, in terms of tuning, the piece makes a gradual journey from 12tet
to JI. Why? Well, I wrote the "scores" of the piece about 6 years ago,
when I barely knew that other tuning systems existed. Wanting to realize
it recently, I realized that since the form consists (among other things)
of a 12-note "chord" gradually coalescing over the course of the piece,
why not have this chord be JI-tuned? (I start in 12-eq, because I
originally was going to have a live piano part with the piece, so that
another thing that would happen would be that the piano would gradually
get "out-of-tune" with everything else. However, I dropped the live piano
idea for this realization--but the 12tet-->JI "journey" idea is still
there.)

The chord of which I speak is as follows:

if F3 in 12tet is taken as 1/1, then the chord is, in ascending pitch:

Bb F D Eb A C E G Ab B Db Gb
3/4 1/1 5/3 7/4 5/2 6/2 15/4 9/2 24/5 28/5 32/5 128/15
(5/4) (3/2) (15/8) (9/8) (6/5) (7/5)(8/5) (16/15)

I'm not sure how this would go into a lattice.

The registration is a la Messiaen: i.e. "diatonic on the bottom, garbage
up top." Seems to be a good rule-of-thumb sometimes.

I suppose the tuning is not too remarkable, except that
the end of the piece, with Eb and Bb 5th in the bass, it's a
32/21 5th; gives it a piquant sensation of unresolved "the bass wants to
go down"-edness, unlike your run-of-the-mill 3/2.

(Actually, the Eb is barely audible. . . kind of like a vague fog
underneath the strong Bb at the end.)

Well, enjoy!

***From: Christopher Bailey******************
http://music.columbia.edu/~chris
**********************************************

Christopher Bailey wrote,

>Bb F D Eb A C E G Ab B Db Gb
>3/4 1/1 5/3 7/4 5/2 6/2 15/4 9/2 24/5 28/5 32/5 128/15
(5/4) (3/2) (15/8) (9/8) (6/5) (7/5)(8/5) (16/15)

>I'm not sure how this would go into a lattice.

D---------A---------E
/ \ /|\ / \
/ \ / | \ / \
/ \ / Eb \ / \
/ \ /,'/ `.\ / \
Bb--------F---------C---------G
/ \ /|\/ /
/ \ / |/\ /
/ \ / B \ /
/ \ /,' `.\ /
Gb--------Db--------Ab

Let me know if it isn't clear how that comes about.

I would use the notation "D#" instead of "Eb" to reflect how this would be
approximated in meantone.

--- In tuning@y..., Christopher Bailey <cb202@c...> wrote:
> I just put a new piece up, "Improvisation II: Kiss of the Gamelan
> Goddess" at http://music.columbia.edu/~chris/tunes.html
>

Christopher,

This is absolutely magnificent!!!!

Incredibly amazing sound design there guy!!!!

I'll have to thoroughly explore your page tomorrow - going to
see "Crouching Tiger, Hidden Dragon" tonight.

Thanks for the tunage,

Jacky Ligon

Jacky wrote:
> I'll have to thoroughly explore your page tomorrow - going to
> see "Crouching Tiger, Hidden Dragon" tonight.

WAAAAAY off-topic, but everyone out there should see this movie. It is my
favorite of the year, although I doubt it will win the Best Picture Oscar.
Also, listen for the soundtrack featuring Yo-yo Ma. It has a similar feel to
the "Seven Years in Tibet" soundtrack, for that reason.

TOdd

Todd Wilcox wrote:
>
> Jacky wrote:
> > I'll have to thoroughly explore your page tomorrow - going to
> > see "Crouching Tiger, Hidden Dragon" tonight.
>
> WAAAAAY off-topic, but everyone out there should see this movie. It is my
> favorite of the year, although I doubt it will win the Best Picture Oscar.
> Also, listen for the soundtrack featuring Yo-yo Ma. It has a similar feel to
> the "Seven Years in Tibet" soundtrack, for that reason.

Dancer in the Dark.

Screw Hollywood.

(except for my microtonal friends in Hollywood!)

--
* 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:
> Screw Hollywood.

Absolutely!

JL

D!
As working in the eye of the hurricane, I consider the hollywood
film industry on Par to India's. With the later not arrogant to give
themselves awards. Liked Dancer in the Dark and at least Bjork (Student
of Stockhausen ) does her own String arrangements, for the most part.

David Beardsley wrote:

>
>
> Dancer in the Dark.
>
> Screw Hollywood.
>
> (except for my microtonal friends in Hollywood!)
>
>

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

Oh...I'm just disappointed that she didn't get a
best actress nomination. She knocks me out, she's
the Miles Davis/Ornette Coleman/Eric Dolphy of the voice,
she's reinvented vocals. (I'm sure there's other men
and women that have done this but it's besides
the point!). She rolls those vowels into overtones
and I'm worried she's going to lose to Dylan...
America doesn't know....

Kraig Grady wrote:
>
> D!
> As working in the eye of the hurricane, I consider the hollywood
> film industry on Par to India's. With the later not arrogant to give
> themselves awards. Liked Dancer in the Dark and at least Bjork
> (Student of Stockhausen ) does her own String arrangements, for the
> most part.
>
> David Beardsley wrote:
>
> >
> >
> > Dancer in the Dark.
> >
> > Screw Hollywood.
> >
> > (except for my microtonal friends in Hollywood!)
> >
> >
>
> -- Kraig Grady
> North American Embassy of Anaphoria island
> http://www.anaphoria.com
>
> The Wandering Medicine Show
> Wed. 8-9 KXLU 88.9 fm
>
>
>
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--
* 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!
I think this has more to do with how much the movie made!

David Beardsley wrote:

> Oh...I'm just disappointed that she didn't get a
> best actress nomination.

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

Kraig Grady wrote:
>
> David!
> I think this has more to do with how much the movie made!

Oh, I know. It would be nice if they acknowledged
how great her performance was.

I know it's no different than the Grammys. It's like the elections,
it's all warped and distorted. I mean - hey - can you go
into a music store and get a microtonal guitar?

nada brahma,
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
* http://mp3.com/davidbeardsley

D!
On one Grammy night I saw G E Stinson who had the misfortune to be
the original guitarist of Shadowfax. He took out his grammy, or at
least, the bottom part of the stand since it was so flimsy it fell apart
and proclaimed" This is as close as any Grammy will ever come to music"
an proceeded to use it as the most insane bottleneck he could use. I
guess this qualifies as microtonal

David Beardsley wrote:

> I know it's no different than the Grammys. It's like the elections,
> it's all warped and distorted. I mean - hey - can you go
> into a music store and get a microtonal guitar?

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

Kraig Grady wrote:
>
> D!
> On one Grammy night I saw G E Stinson who had the misfortune to be
> the original guitarist of Shadowfax. He took out his grammy, or at
> least, the bottom part of the stand since it was so flimsy it fell
> apart and proclaimed" This is as close as any Grammy will ever come to
> music" an proceeded to use it as the most insane bottleneck he could
> use. I guess this qualifies as microtonal

You've got me there...hehe...my problem isn't just about the
microtonality - it's about the popular vote...which doesn't mean that
much these days...

--
* 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!
That reminds me the time I was hiking in the hollywood hills and of
course there was at the lookout, a man looking an awful like Jesus, (ala
William de Foe/Jeff Chandler) and just I was about to speak, he turned
to me as said "I offered them freedom, and all they want is to be
enslaved."

David Beardsley wrote:

> You've got me there...hehe...my problem isn't just about the
> microtonality - it's about the popular vote...which doesn't mean that
> much these days...

-- Kraig Grady
North American Embassy of Anaphoria island
http://www.anaphoria.com

The Wandering Medicine Show
Wed. 8-9 KXLU 88.9 fm

--- In tuning@y..., Christopher Bailey <cb202@c...> wrote:

/tuning/topicId_18732.html#18732

> I just put a new piece up, "Improvisation II: Kiss of the Gamelan
> Goddess" at http://music.columbia.edu/~chris/tunes.html
>
I enjoyed this... very "post modern" in a kind of "sampling" sense...
nice. I was wondering, though, it would be possible for you to
"stream" your files in the future. I was able to "multitask" but it
sure took a while to get that file up and running...

Congrats...

______ _____ ____ ____
Joseph Pehrson

--- In tuning@y..., "Paul H. Erlich" <PERLICH@A...> wrote:

/tuning/topicId_18732.html#18739

> Christopher Bailey wrote,
>
> >Bb F D Eb A C E G Ab B Db Gb
> >3/4 1/1 5/3 7/4 5/2 6/2 15/4 9/2 24/5 28/5 32/5 128/15
> (5/4) (3/2) (15/8) (9/8) (6/5) (7/5)(8/5) (16/15)
>
>
> >I'm not sure how this would go into a lattice.
>
> D---------A---------E
> / \ /|\ / \
> / \ / | \ / \
> / \ / Eb \ / \
> / \ /,'/ `.\ / \
> Bb--------F---------C---------G
> / \ /|\/ /
> / \ / |/\ /
> / \ / B \ /
> / \ /,' `.\ /
> Gb--------Db--------Ab
>
> Let me know if it isn't clear how that comes about.
>
> I would use the notation "D#" instead of "Eb" to reflect how this
would be approximated in meantone.

OK... You know it's about time I learn this. It's easy to see that
the 3-limit fifths go in the horizontal direction and the 5-limit
thirds are running in the vertical direction. However, what are the
D# and the Eb?? Are they another 7-limit dimension, and, if so, how
do you get that?? Thanks!

________ ______ ______ __
Joseph Pehrson

I wrote,

>>
>> D---------A---------E
>> / \ /|\ / \
>> / \ / | \ / \
>> / \ / Eb \ / \
>> / \ /,'/ `.\ / \
>> Bb--------F---------C---------G
>> / \ /|\/ /
>> / \ / |/\ /
>> / \ / B \ /
>> / \ /,' `.\ /
>> Gb--------Db--------Ab
>>
>> Let me know if it isn't clear how that comes about.
>>
>> I would use the notation "D#" instead of "Eb" to reflect how this
would be approximated in meantone.

Joseph wrote,

>OK... You know it's about time I learn this. It's easy to see that
>the 3-limit fifths go in the horizontal direction and the 5-limit
>thirds are running in the vertical direction. However, what are the
>D# and the Eb?? Are they another 7-limit dimension, and, if so, how
>do you get that?? Thanks!

This is all you need to know to understand the lattice:

5
/|\
/ | \
/ 7 \
/,' `.\
1---------3

Does that make it clear?

--- In tuning@y..., "Paul H. Erlich" <PERLICH@A...> wrote:

/tuning/topicId_18732.html#18848

> I wrote,
>
> >>
> >> D---------A---------E
> >> / \ /|\ / \
> >> / \ / | \ / \
> >> / \ / Eb \ / \
> >> / \ /,'/ `.\ / \
> >> Bb--------F---------C---------G
> >> / \ /|\/ /
> >> / \ / |/\ /
> >> / \ / B \ /
> >> / \ /,' `.\ /
> >> Gb--------Db--------Ab
> >>
> >> Let me know if it isn't clear how that comes about.
> >>
> >> I would use the notation "D#" instead of "Eb" to reflect how
this
> would be approximated in meantone.
>
> Joseph wrote,
>
> >OK... You know it's about time I learn this. It's easy to see
that
> >the 3-limit fifths go in the horizontal direction and the 5-limit
> >thirds are running in the vertical direction. However, what are
the D# and the Eb?? Are they another 7-limit dimension, and, if so,
how do you get that?? Thanks!
>
> This is all you need to know to understand the lattice:
>
> 5
> /|\
> / | \
> / 7 \
> /,' `.\
> 1---------3
>
> Does that make it clear?

Thanks, Paul... This much I did know! I was just momentarily
confused about the 7ths, but I can see now that those intervals
certainly*ARE* sevenths.... Thanks!!!

_______ ______ _____ _ .....
Joseph Pehrson