Monz, got some stuff from your website to work!

Not that you should be surprised, but my hit rate
with downloads from Tuning Punks and
PracticalMicrotonality has been poor.

I listened to Autumn leaves and the 19-tone Samba.
There is a thing that happens in both of them that
shows some of the cool stuff IMHO microtonality can
do (I know, one is a piece and the other is an
example, but...)

There is a part in the 19-tone samba where the piece
is roaming along, sounding quite tonal though theres
a general spin to the chord sound that is different,
but then the bass wanders down to (what I hear as)
a '2' in the key, that is definately in a region of
'2-ness' that is internally logical, but aurally new
and over the edge.

The feeling is a lot like good polytonality where
the logical says "yes, you should get here", but the
sound says "surprise, here is NOT your grandfathers
V chord". I refer to this as a 'collision', and
like them in any and all musics.

The similar place in Autumn Leaves retuned is the
mild train wreck on the F#-7(b5) chord (although
things haven't been wanderring along quite as
comfortably, its just that at this point, the
gloves are removed for sure).

I also spun the Hendrix chords, although, I couldn't
figure out how to stay in sync between the text and
the voicings AND my soundcard produced some "sum tones"
(I'm sure of it, strong pitches at the #11 region,
which would be the sum of the b7 and #9) that made
things... interesting but less informative.

Just want to say as has been said before, your
website is a great service.

thanks,

Bob Valentine

--- In tuning@y..., Robert C Valentine <BVAL@I...> wrote:

> There is a part in the 19-tone samba
> (<http://www.ixpres.com/interval/monzo/19tet/19samba.htm>),
> where the piece is roaming along, sounding quite tonal
> though theres a general spin to the chord sound that is
> different, but then the bass wanders down to (what I hear
> as) a '2' in the key, that is definately in a region of
> '2-ness' that is internally logical, but aurally new
> and over the edge.

The main section of the piece is in D-major... are you
talking about the chord near the end of the phrase where
the bass drops down to "A" and the upper three strings
play an E-minor chord?

(Which I tend to think of as an A-dominant-11th; even tho
it's actually only an incomplete 9th chord, the "D" is
practically a drone in this piece, so its sound is so deeply
embedded in my ear when I hear this piece that "D" seems
to be there in the A-incomplete-9th chord too.)

Or are you talking about the introductory section which
returns later, which is really in G-major? (The first chord
is the same type of incomplete-9th, a "4th" higher, so
harmonically this is V11 - I in G over the D drone, but
to my ears the whole section functions as an extended ii
in the tonic of D.)

> I also spun the Hendrix chords, although, I couldn't
> figure out how to stay in sync between the text and
> the voicings AND my soundcard produced some "sum tones"
> (I'm sure of it, strong pitches at the #11 region,
> which would be the sum of the b7 and #9) that made
> things... interesting but less informative.

I really should make mp3s of those _Hendrix Chord_ excerpts,
because the types of affects I talk about on that webpage
are not always heard on the other end if the user's MIDI
doesn't produce an end result audio that's similar to mine.
Thanks for pointing out these defects.

>
> Just want to say as has been said before, your
> website is a great service.
>
> thanks,
>
> Bob Valentine

Thanks, Bob. Now if only I could somehow earn a living
from providing this service... all donations are accepted...

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