New Microtonal Piece at mp3.com - Tsantsa Circle Dance

I've made a new piece using the Partch Tonality Diamond, posted to
MP3.com.

Its available at http://www.mp3.com/PrentRodgers under the name
Tsantsa Circle Dance and another version (different randomization) as
Circle Dance #2 Tsantsa Celebration.

Here are some notes about the music, which also appear on the MP3
page. The piece is based on a movement across the utonalities of the
Partch Tonality Diamond. At each step, I play the otonalities of that
tonality step.

The primary tonality is what I call D++, an 8:7 above the center of a
tonality diamond based on C as 1:1. The song moves around the diamond
by utonality steps in a kind of circle of chords, from D++ (8:7) to F
(4:3) to A flat (8:5), C (1:1), G-- (16:11), to A# (16:9) and back to
D++. If you voice the chords just right, you can go around this cycle
three times and end up with a kind of chromatic scale that drops an
octave; 18 steps from start to finish.

The song spends most of its time in D++ major otonality. The opening
section uses a horn glissando on a triad 7:9:11 to the triad 8:10:12.
The glide is gradual over a whole note. At the start of the glide,
there is a prominent difference tone three octaves below the 9:11:14.
At the end, the difference tone is one octave below the 10:12:16. I
play around with shifting difference tones all throughout the piece,
some more prominently than others.

The instruments used are trombones, tuba, flute, cello, violin,
guitar, finger piano, and percussion. Bass gongs that glissando down
appear at different times.

The title is taken from the South American native Jivaro warriors, who
smeared themselves with blood and danced with the shrunken heads of
their enemies dramatizing the killing. Tsantsa is the native word for
shrunken head. Imagine hearing the trombone glissandos across the
forest valley, the triumphant victory dance of revenge.

Set the riffmobile to triademonium, sit back and listen to the
changes. Notice your head getting smaller?

The voicings of the chords are what make the circle of tonalities
interesting. For example, to move through D++, F, Ab, C, G--, D++, I
voice the D++ as 4:5:6, F as 3:4:5, Ab as 5:6:8, C as 4:5:6, G- as
5:6:8, and D++ now as 3:4:5. Repeat the cycle with F as 5:6:8, Ab as
4:5:6, C as 3:4:5, G- as 4:5:6, and D++ as 5:6:8. The third time,
voice F as 4:5:6, Ab as 3:4:5, C as 5:6:8, and G- as 3:4:5, back to
D++ as 4:5:6. This creates a descending chromatic-like scale on the
high notes of the chords. I call them A+, A-, Ab, G, G--, F, Gb, F, E-
-, E, D--, D, D++, C, C, C, B--, A#, back to A+, the 3:2 above D++.
Notice that it doesn't really always descend. Sometimes I hang out at
G- or C for a clean 4:5:6. Sometimes I include the 7:9:11 or its
revoicing as 9:11:14, or 11:14:18. Sometimes there is a glissando
from the lower number ratios to the higher or visa versa. Lots of
activity at all times.

The rhythm is based on cycles of 2:4:6 or 4:6:2 or 6:2:4,
imultaneously or opposed.

The sounds are all created using Csound and the McGill University
Master Samples, plus some of my own for the finger piano. I use
Csound to create the piece. The beauty of Csound for me is the
ability to control every instrument's envelope individually for every
note, including crescendo and decrescendo, and all the other
musically relevant articulations that make a composition come alive.
I also make use of the ability in Csound to move pitches around,
through a function table to control glissando for every note,
individually. Finally, Csound makes it possible to base the tuning on
non-twelve-tone-to-the-octave tunings. In my case, Csound has allowed
me to explore the Partch Tonality Diamond, for the past six years.
There is no other way to make music for me. Source code is on my home
page at http://home.attbi.com/~prodgers13/.

Prent Rodgers
Mercer Island, WA

Email: PrentRodgers@attbi.com
Home Page: http://home.attbi.com/~prodgers13/
Music: http://www.mp3.com/PrentRodgers

It's cold, but it's a damp cold.

Once again, Prent surfaces without fanfare or dissertations and proceeds to make compelling music with little more than samples, Csound, and a huge amount of Rodgers-sense.

Highly recommended, and highly enjoyed!

Cheers,
Jon

Prent had listed a URL for his home page that contains source code; his URL also contained a period (which caused a bad link). Here is the corrected address:

http://home.attbi.com/~prodgers13/

Cheers,
Jon

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> I've made a new piece using the Partch Tonality Diamond, posted to
> MP3.com.
>
> Its available at http://www.mp3.com/PrentRodgers under the name
> Tsantsa Circle Dance

great work as always, prent!

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> I've made a new piece using the Partch Tonality Diamond, posted to
> MP3.com.
>
> Its available at http://www.mp3.com/PrentRodgers under the name
> Tsantsa Circle Dance and another version (different randomization)
as
> Circle Dance #2 Tsantsa Celebration.

hi prent --

when you say "different randomization", you mean that both pieces are
basically the same, partly algorithmic, composition; but that you ran
the algorithm twice, and that the different results come from a
different random number "seed" or "seeds" chosen by the computer in
each case? or is this completely incorrect?

thanks,
paul

--- In tuning@y..., "jonszanto" <JSZANTO@A...> wrote:

> Once again, Prent surfaces without fanfare or dissertations and
proceeds to make compelling music with little more than samples,
Csound, and a huge amount of Rodgers-sense.

Actually, he posted an extensive dissertation, and more power
to him. His ability to write about what his music did not,
in fact, seem to harm it.

--- In tuning@y..., "emotionaljourney22" <paul@s...> wrote:

/tuning/topicId_36755.html#36775

> --- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> > I've made a new piece using the Partch Tonality Diamond, posted
to
> > MP3.com.
> >
> > Its available at http://www.mp3.com/PrentRodgers under the name
> > Tsantsa Circle Dance and another version (different
randomization)
> as
> > Circle Dance #2 Tsantsa Celebration.
>
> hi prent --
>
> when you say "different randomization", you mean that both pieces
are
> basically the same, partly algorithmic, composition; but that you
ran
> the algorithm twice, and that the different results come from a
> different random number "seed" or "seeds" chosen by the computer in
> each case? or is this completely incorrect?
>
> thanks,
> paul

***Whatever, it makes a *big* musical difference, since, for me
the "cello" comes in much too loud and early in the second version,
and destroys the amazing "texture" of the first version...

J. Pehrson

--- In tuning@y..., "emotionaljourney22" <paul@s...> wrote:
Paul,

That's right. Each instrument has a lot of choices it can make at
each measure, note, phrase, silence. There is a Pascal program I
wrote that makes the choices and writes the Csound score out. I make
a few dozen copies, listen to the results, and keep the ones I like
best. Same random number seed, just different random choices from the
seed.

Prent Rodgers

> when you say "different randomization", you mean that both pieces
are
> basically the same, partly algorithmic, composition; but that you
ran
> the algorithm twice, and that the different results come from a
> different random number "seed" or "seeds" chosen by the computer in
> each case?

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> --- In tuning@y..., "emotionaljourney22" <paul@s...> wrote:
> Paul,
>
> That's right. Each instrument has a lot of choices it can make at
> each measure, note, phrase, silence. There is a Pascal program I
> wrote that makes the choices and writes the Csound score out. I
make
> a few dozen copies, listen to the results, and keep the ones I like
> best. Same random number seed, just different random choices from
the
> seed.
>
> Prent Rodgers

thanks for clarifying, prent! so these were two different runs from
the same algorithmic composition program . . . neato!

keep up the good work, and i hope you'll spread the alternative
tuning gospel among other algorithmic composers out there that you
may come across!

(i just posted a nice ad for your work on rec.music.theory -- i'm
ready for my nine lashes now . . .)

Congratulations, Prent! Despite my distaste for the rather macabre,
bizarre and anything-but-elevating programmatic references, I find
this one of the most fascinating and musically successful, non-
traditional (meaning not retunings of classical music to just, etc.)
microtonal compositions to which I have been exposed to date.

Sincerely,

Bob

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> I've made a new piece using the Partch Tonality Diamond, posted to
> MP3.com.
>
> Its available at http://www.mp3.com/PrentRodgers under the name
> Tsantsa Circle Dance and another version (different randomization)
as
> Circle Dance #2 Tsantsa Celebration.
>
> Here are some notes about the music, which also appear on the MP3
> page. The piece is based on a movement across the utonalities of
the
> Partch Tonality Diamond. At each step, I play the otonalities of
that
> tonality step.
>
> The primary tonality is what I call D++, an 8:7 above the center of
a
> tonality diamond based on C as 1:1. The song moves around the
diamond
> by utonality steps in a kind of circle of chords, from D++ (8:7) to
F
> (4:3) to A flat (8:5), C (1:1), G-- (16:11), to A# (16:9) and back
to
> D++. If you voice the chords just right, you can go around this
cycle
> three times and end up with a kind of chromatic scale that drops an
> octave; 18 steps from start to finish.
>
> The song spends most of its time in D++ major otonality. The
opening
> section uses a horn glissando on a triad 7:9:11 to the triad
8:10:12.
> The glide is gradual over a whole note. At the start of the glide,
> there is a prominent difference tone three octaves below the
9:11:14.
> At the end, the difference tone is one octave below the 10:12:16. I
> play around with shifting difference tones all throughout the
piece,
> some more prominently than others.
>
> The instruments used are trombones, tuba, flute, cello, violin,
> guitar, finger piano, and percussion. Bass gongs that glissando
down
> appear at different times.
>
> The title is taken from the South American native Jivaro warriors,
who
> smeared themselves with blood and danced with the shrunken heads of
> their enemies dramatizing the killing. Tsantsa is the native word
for
> shrunken head. Imagine hearing the trombone glissandos across the
> forest valley, the triumphant victory dance of revenge.
>
> Set the riffmobile to triademonium, sit back and listen to the
> changes. Notice your head getting smaller?
>
> The voicings of the chords are what make the circle of tonalities
> interesting. For example, to move through D++, F, Ab, C, G--, D++,
I
> voice the D++ as 4:5:6, F as 3:4:5, Ab as 5:6:8, C as 4:5:6, G- as
> 5:6:8, and D++ now as 3:4:5. Repeat the cycle with F as 5:6:8, Ab
as
> 4:5:6, C as 3:4:5, G- as 4:5:6, and D++ as 5:6:8. The third time,
> voice F as 4:5:6, Ab as 3:4:5, C as 5:6:8, and G- as 3:4:5, back to
> D++ as 4:5:6. This creates a descending chromatic-like scale on the
> high notes of the chords. I call them A+, A-, Ab, G, G--, F, Gb, F,
E-
> -, E, D--, D, D++, C, C, C, B--, A#, back to A+, the 3:2 above D++.
> Notice that it doesn't really always descend. Sometimes I hang out
at
> G- or C for a clean 4:5:6. Sometimes I include the 7:9:11 or its
> revoicing as 9:11:14, or 11:14:18. Sometimes there is a glissando
> from the lower number ratios to the higher or visa versa. Lots of
> activity at all times.
>
> The rhythm is based on cycles of 2:4:6 or 4:6:2 or 6:2:4,
> imultaneously or opposed.
>
> The sounds are all created using Csound and the McGill University
> Master Samples, plus some of my own for the finger piano. I use
> Csound to create the piece. The beauty of Csound for me is the
> ability to control every instrument's envelope individually for
every
> note, including crescendo and decrescendo, and all the other
> musically relevant articulations that make a composition come
alive.
> I also make use of the ability in Csound to move pitches around,
> through a function table to control glissando for every note,
> individually. Finally, Csound makes it possible to base the tuning
on
> non-twelve-tone-to-the-octave tunings. In my case, Csound has
allowed
> me to explore the Partch Tonality Diamond, for the past six years.
> There is no other way to make music for me. Source code is on my
home
> page at http://home.attbi.com/~prodgers13/.
>
>
> Prent Rodgers
> Mercer Island, WA
>
> Email: PrentRodgers@a...
> Home Page: http://home.attbi.com/~prodgers13/
> Music: http://www.mp3.com/PrentRodgers
>
> It's cold, but it's a damp cold.

--- In tuning@y..., "genewardsmith" <genewardsmith@j...> wrote:
> --- In tuning@y..., "jonszanto" <JSZANTO@A...> wrote:
>
> > Once again, Prent surfaces without fanfare or dissertations ...
>
> Actually, he posted an extensive dissertation

Duh. I meant *preceding* it. No tremendous announcements of the Next New Thing, no promises, no charts, etc. He brought up the music, and if one needs such illumination, he gave the technical background.

I enjoy reading Prent's 'liner notes', but I don't need them, and it is refreshing to see the music precede and supercede (in importance) the documentation of the materials.

That's what I meant.

Cheers,
Jon

--- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> Despite my distaste for the rather macabre, bizarre and anything-
> but-elevating programmatic references

Ah, c'mon Bob - a little other-worldly mythical stuff can't hurt! Or were you talking about the tuning and other technical issues???

Cheers,
Jon

--- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> Congratulations, Prent! Despite my distaste for the rather macabre,
> bizarre and anything-but-elevating programmatic references,

Bob,

Thanks for the comments on the music. I never thought about the
impact that the shrunken head illusions might have on the audience. I
like to pick evocative images. I'm still trying to write a piece that
I can call "Subduction Zone", or something like that, to evoke the
image of global tectonic plates being subsumed beneath the
continental structures. It must sound amazing....

Prent Rodgers

--- In tuning@y..., "jonszanto" <JSZANTO@A...> wrote:
> --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> > Despite my distaste for the rather macabre, bizarre and anything-
> > but-elevating programmatic references
>
> Ah, c'mon Bob - a little other-worldly mythical stuff can't hurt!
Or were you talking about the tuning and other technical issues???
>
> Cheers,
> Jon

Bob:
Chuckle...no, I like the tuning and "technical stuff". "Otherworldly"
is fine. Just would prefer more uplifting "otherworldly".

--- In tuning@y..., "prentrodgers" <prentrodgers@a...> wrote:
> --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> > Congratulations, Prent! Despite my distaste for the rather
macabre,
> > bizarre and anything-but-elevating programmatic references,
>
> Bob,
>
> Thanks for the comments on the music. I never thought about the
> impact that the shrunken head illusions might have on the audience.
I
> like to pick evocative images. I'm still trying to write a piece
that
> I can call "Subduction Zone", or something like that, to evoke the
> image of global tectonic plates being subsumed beneath the
> continental structures. It must sound amazing....
>
> Prent Rodgers

Bob:
Sounds exciting, Prent! I find amazing natural phenomena very
inspiring, even if subduction doesn't sound physically uplifting
(grin), it sounds like a more elevating theme in spite of that. I'm
looking forward to hearing more of your output, Prent!

--- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:

/tuning/topicId_36755.html#36803

> --- In tuning@y..., "jonszanto" <JSZANTO@A...> wrote:
> > --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> > > Despite my distaste for the rather macabre, bizarre and
anything-
> > > but-elevating programmatic references
> >
> > Ah, c'mon Bob - a little other-worldly mythical stuff can't hurt!
> Or were you talking about the tuning and other technical issues???
> >
> > Cheers,
> > Jon
>
> Bob:
> Chuckle...no, I like the tuning and "technical
stuff". "Otherworldly"
> is fine. Just would prefer more uplifting "otherworldly".

***Hi Bob...

Well, Prent's kind of thing is "all the rage" in composing circles,
whether one happens to care for it or not.

For instance, here is a link to my friend, established composer Wendy
Mae Chambers "Voodoo Opera" site... :)

http://www.voodooonthebayou.net/

Joe Pehrson

--- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
>
> /tuning/topicId_36755.html#36803
>
> > --- In tuning@y..., "jonszanto" <JSZANTO@A...> wrote:
> > > --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
> > > > Despite my distaste for the rather macabre, bizarre and
> anything-
> > > > but-elevating programmatic references
> > >
> > > Ah, c'mon Bob - a little other-worldly mythical stuff can't
hurt!
> > Or were you talking about the tuning and other technical issues???
> > >
> > > Cheers,
> > > Jon
> >
> > Bob:
> > Chuckle...no, I like the tuning and "technical
> stuff". "Otherworldly"
> > is fine. Just would prefer more uplifting "otherworldly".
>
>
> ***Hi Bob...
>
> Well, Prent's kind of thing is "all the rage" in composing circles,
> whether one happens to care for it or not.
>
> For instance, here is a link to my friend, established composer
Wendy
> Mae Chambers "Voodoo Opera" site... :)
>
> http://www.voodooonthebayou.net/
>
> Joe Pehrson

Bob:
Well, Joe, I've never been one to be influenced by whatever is "all
the rage". I was ten years old when Elvis Presley first hit the big
time and didn't like any rock 'n roll till the Beatles started
writing. (This excludes quality R&B, blues, jazz, and black gospel,
all of which I absolutely L-U-U-U-U-VED from way before anyone ever
heard of rock 'n roll!!!!)

--- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:

/tuning/topicId_36755.html#36813

>
> Bob:
> Well, Joe, I've never been one to be influenced by whatever is "all
> the rage". I was ten years old when Elvis Presley first hit the big
> time and didn't like any rock 'n roll till the Beatles started
> writing. (This excludes quality R&B, blues, jazz, and black gospel,
> all of which I absolutely L-U-U-U-U-VED from way before anyone ever
> heard of rock 'n roll!!!!)

***Hi Bob!

Why, of course! I didn't mean to imply that you should "do voodoo!"

As for me I, similarly, bucked the trends. When I was 13 years old
the Beatles came around and I refused to listen to them, listening
instead imperiously to Beethoven, which I found in a record rack
because I had heard someplace that it was "good..."

But of course, that year the greatest Beatles tune so far was "I want
to hold your hand..." OK but, well, there was more to come I
think... :)

Anyway, my parents went out and *BOUGHT* me a Beatles record, just so
I could be like the other kids. Just so I wouldn't be "weird."

So that explains why I am resoundly "unweird" even to this very day...

best,

Joe

--- In tuning@y..., "jpehrson2" <jpehrson@r...> wrote:
> --- In tuning@y..., "robert_wendell" <rwendell@c...> wrote:
>
> /tuning/topicId_36755.html#36813
>
> >
> > Bob:
> > Well, Joe, I've never been one to be influenced by whatever
is "all
> > the rage". I was ten years old when Elvis Presley first hit the
big
> > time and didn't like any rock 'n roll till the Beatles started
> > writing. (This excludes quality R&B, blues, jazz, and black
gospel,
> > all of which I absolutely L-U-U-U-U-VED from way before anyone
ever
> > heard of rock 'n roll!!!!)
>
> ***Hi Bob!
>
> Why, of course! I didn't mean to imply that you should "do voodoo!"
>
> As for me I, similarly, bucked the trends. When I was 13 years old
> the Beatles came around and I refused to listen to them, listening
> instead imperiously to Beethoven, which I found in a record rack
> because I had heard someplace that it was "good..."
>
> But of course, that year the greatest Beatles tune so far was "I
want
> to hold your hand..." OK but, well, there was more to come I
> think... :)
>
> Anyway, my parents went out and *BOUGHT* me a Beatles record, just
so
> I could be like the other kids. Just so I wouldn't be "weird."
>
> So that explains why I am resoundly "unweird" even to this very
day...
>
> best,
>
> Joe

Hi, Joe! Amusing... I did, of course, love classical. Our parents
took us to hear string quartets and symphony concerts, etc. since the
first grade. So my parents actively taught me to be "weird". Now you
understand how it happened (chuckle).