Yahoo Tuning Groups Ultimate Backup tuning New Microtonal Piece at mp3.com

Dear Tuners,

I recently uploaded a new song to my MP3.com web site called "La
Cuenta". It can be found at http://www.mp3.com/PrentRodgers . I sent
it in two weeks ago, and they just now got around to making it
available. Apparently for an extra $20 a month they will get around
to approving it sooner. Free music on the internet is getting a bit
more challenging.

La Cuenta was made using Csound and the McGill University Master
Samples. I used the flute, piano, guitar, english horn, clarinet,
bassoon, trombone and a few others. The intonation is based on the
Partch Tonality diamond. More details are on the song description
page. Click on La Cuenta for information or to listen,

Prent Rodgers
Mercer Island, WA

🔗monz <joemonz@yahoo.com>

--- In tuning@y..., prentrodgers@h... wrote:

/tuning/topicId_22140.html#22140

> Dear Tuners,
>
> I recently uploaded a new song to my MP3.com web site called "La
> Cuenta". It can be found at http://www.mp3.com/PrentRodgers .
>
> <etc.>

Hey Prent, this is a great piece! Reminds me a little bit
of Wendy Carlos's 19-limit harmonic scale piece on _Beauty
In The Beast_... "Just In Time", or something like that...

I love those pungent 7:9:11 triads!

-monz
http://www.monz.org
"All roads lead to n^0"

🔗prentrodgers@home.com

🔗prentrodgers <prentrodgers@attbi.com>

Fellow Tuners,

For those who like to listen to tunings, I've posted a new piece on
MP3.com. See: http://www.mp3.com/PrentRodgers
and look for "Chain of Flowers". A short description follows:

Harmonic structure:

This is a piece that uses more material from the Partch Tonality
Diamond. The title is taken from the web page of the Museum of
Jurassic Technology, the work of David Wilson. Mr. Wilson recently
won a MacArthur Foundation grant to continue the work of his museum.
On his web page is a quote from Charles Willson Peale, "...guided
along as it were a chain of flowers into the mysteries of life." This
refers to the technique of guiding visitors to a museum along a path
towards what you want them to learn by entertaining them along the
way, like a path of flowers. Mr. Peale's museum was one of the first
American museums in the early 19th century. He would lead visitors
from familiar objects toward the unfamiliar, sometimes horrific in
his exhibits. I use a technique of repetition to highlight the unique
sounds of the tonality diamond, kind of like a chain of flowers. Each
flower is made up of petals, which are made up of smaller parts, and
built into a complete structure. The musical material consists of
chords and arpeggios using the otonality, moving to other chords by
steps in the utonality. For example, if C major is 1:1, the chord for
C major consists of 4:5:6:7:9:11, called C : E : G : A++ : D+ : F++
in the score. This moves to an Ab major with the intervals
4:5:6:7:9:11 as Ab : C : E-- : F# : Bb : D- . Then to F major as F :
A- : C : D# : G : B- , then to D++, A#, and G-- major. This C major,
Ab major, F major, D++ major, A# major, G-- major is the basis of the
piece. I also use the sub-minor variant of each. I call the 6:7:9
chord the sub-minor: G : A++ : D+ . Each of the major chords has a
subminor complement. G complements C, E-- sub-minor complements Ab
major, and so on. There is a great deal of indeterminacy in the
piece. The specific chords in the key are chosen more or less at
random, within a list of allowable choices. Limitations on the order
of choice contribute to consistency. Sort of. A second version of the
piece, realized a few minutes after this one, will also be available
on this web site as soon as they approve it.

Set the Riff-mobile to "Triademonium".

Sound Sources

I use Csound to generate this piece. Samples were taken from the
McGill University Master Samples CD-ROM. I created a program in
Pascal that is kind of a macro pre-processor for the Csound input
files. The preprocessor takes a text file as input and creates a .csd
file that Csound processes. More details, including source code, is
available on my web site at http://home.attbi.com/~prodgers13/

Descriptions of Mr. Wilson's Museum is at http://www.mjt.org/ . For
discussions of tuning systems, see the Tuning List at
/tuning (registration required). For
discussions of the Csound program used to generate the piece, see
http://www.csounds.com/ and other Csound sites found in Google.

Prent Rodgers
Mercer Island, WA

New Home Page: http://home.attbi.com/~prodgers13/
MP3 Examples: http://www.mp3.com/PrentRodgers

"It's cold, but it's a damp cold."
Prent Rodgers
Mercer Island, WA

Home Page: http://home.attbi.com/~prodgers13/
MP3 Examples: http://www.mp3.com/PrentRodgers

🔗jpehrson2 <jpehrson@rcn.com>

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:

/tuning/topicId_22140.html#31431

> Fellow Tuners,
>
> For those who like to listen to tunings, I've posted a new piece on
> MP3.com. See: http://www.mp3.com/PrentRodgers
> and look for "Chain of Flowers".

Oh... I already spoke my encomium about this great new piece on
MakeMicroMusic.

However, I have a question that possibly Paul Erlich can answer
regarding the *theory* part of it.

Does the idea of using otonal chords according to *root* movement by
an *utonal* chord make any sense theoretically??

Well, it *sounds* great, so I guess that should be enough, but I
wanted to hear a little more whether that's just coincidence or if,
theoretically, that idea works...

Thanks!

Joseph

🔗paulerlich <paul@stretch-music.com>

--- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> --- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
>
> Oh... I already spoke my encomium about this great new piece on
> MakeMicroMusic.
>
> However, I have a question that possibly Paul Erlich can answer
> regarding the *theory* part of it.
>
> Does the idea of using otonal chords according to *root* movement
by
> an *utonal* chord make any sense theoretically??

Why not? There are different choices you can make about what member
of the utonal chord to consider or treat musically as the root (i.e.,
is it a half-diminished seventh chord? A minor 6 chord? A subminor
chord with added fourth? But once you've made that choice, what's
stopping you? Particularly in the Diamond, where you have one common
tone connecting _all_ the chords.

🔗jpehrson2 <jpehrson@rcn.com>

--- In tuning@y..., "paulerlich" <paul@s...> wrote:

/tuning/topicId_22140.html#31458
> Why not? There are different choices you can make about what member
> of the utonal chord to consider or treat musically as the root
(i.e.,
> is it a half-diminished seventh chord? A minor 6 chord? A subminor
> chord with added fourth? But once you've made that choice, what's
> stopping you? Particularly in the Diamond, where you have one
common tone connecting _all_ the chords.

I see... you mean the row of 1/1's right in the middle of the Diamond
Marimba, for example...

By the way, what is the definition of a "subminor" chord again? I
don't remember studying that in "classical" theory courses... (unless
I *forgot* it...)

Thanks!

Joseph

🔗paulerlich <paul@stretch-music.com>

🔗jpehrson2 <jpehrson@rcn.com>

🔗paulerlich <paul@stretch-music.com>

--- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> --- In tuning@y..., "paulerlich" <paul@s...> wrote:
>
> /tuning/topicId_22140.html#31460
>
> > --- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> > >
> > > By the way, what is the definition of a "subminor" chord again?
> >
> > Actually, I meant "supermajor": 1/1 9/7 3/2
> > Subminor is 1/1 7/6 3/2.
>
> Oh, I see...
>
> This is, obviously, "newfangled" utonal theory terminology of which
I
> should be aware...

Hmm . . . I don't think this is "newfangled utonal theory" at
all . . . it's pretty basic . . . _higher_ than major we find
_supermajor_, and _lower_ than minor, _subminor_ . . .
>
> Thanks, Paul!
>
> Joseph

🔗jpehrson2 <jpehrson@rcn.com>

--- In tuning@y..., "paulerlich" <paul@s...> wrote:

/tuning/topicId_22140.html#31478

> --- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> > --- In tuning@y..., "paulerlich" <paul@s...> wrote:
> >
> > /tuning/topicId_22140.html#31460
> >
> > > --- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> > > >
> > > > By the way, what is the definition of a "subminor" chord
again?
> > >
> > > Actually, I meant "supermajor": 1/1 9/7 3/2
> > > Subminor is 1/1 7/6 3/2.
> >
> > Oh, I see...
> >
> > This is, obviously, "newfangled" utonal theory terminology of
which
> I
> > should be aware...
>
> Hmm . . . I don't think this is "newfangled utonal theory" at
> all . . . it's pretty basic . . . _higher_ than major we find
> _supermajor_, and _lower_ than minor, _subminor_ . . .
> >
> > Thanks, Paul!
> >
> > Joseph

Hi Paul...

I just meant it wasn't taught in music school, at least when *I* went
there... Or, if I *was,* I was obviously sleeping through the
classes...