Fwd: barbershop analysis

Gene, and any others who are interested, here are some details on
the barbershop stuff I sent to Francois off-list...

> http://lumma.org/tuning/barbershop.zip
>
>This is my 'atom bomb' test corpus for barbershop. Below I zero in
>on interesting segments. If you think mp3 will be a problem for
>analysis I can provide wav excerpts upon request if you give me the
>time indices you want.
>
>Suntones - After You've Gone
>----------------------------
>Recorded in the 60's. The older, less advanced vocal technique
>can clearly be heard, but the tuning seems as good as today. Let
>me call your attention to the finale beginning at 1:42. A nice
>walk downward through some chords, then a diminished 7th, no? (is
>there a :17?), resolving to a 7:9 chord. The main progression of
>the piece also has nice movement from maj 7th to dom. 7th chords.
>
>Gas House Gang - No More Sorrow
>-------------------------------
>Early 1990's. Let me call your attention to the change-ringing-like
>section heard for the first time at 2:06. It's a 7:9 chord at 2:10,
>no? (and listen to what the bass is doing!). A more homophonic
>version of the same progression is heard at 1:50.
>
>Gas House Gang - Muskrat Ramble
>-------------------------------
>The Gang has a unique buzzy sound, where the glottal pulses (I'm
>guessing?) are discernable in their voices (not just the bass).
>This piece has a fun dixieland section with a pretty-good trombone
>imitation, I think. But it's the material at 0:00 and at 0:57 that
>I'd like to call your attention to re. tuning.
>
>Joker's Wild - South Rampart St. Parade
>---------------------------------------
>Another group to sample. Has the longest "hanger" I've ever heard
>(3:14 to the end!). The entire tag (around 2:49 - end) should be
>fertile for analysis, if nothing else!
>
>Nitelife - It Never Occurred To Me
>----------------------------------
>Nitelife has a more nasal approach to barbershop, with a more choral
>breath. This piece has some truly bizarre tuning going on!
>
>Nitelife - Rhythm Medley
>------------------------
>This is just amazing. I guess the main attraction (if there is such
>a thing is a piece like this!) is the 'big band' style whip, as heard
>from 1:04-1:09.
>
>Nitelife - Sailin' Away On The Henry Clay
>-----------------------------------------
>What to say?
>
>
>I know it's a lot, but there's one more thing I'd like to point out:
>
> http://lumma.org/tuning/mason-dixon.mp3
>
>Nitelife - Cross the Mason-Dixon Line
>---------------------------------------
>What's going on at 1:29, between "pin -" and "-ing"? A comma
>adjustment? Or just a "mistake"? Then there's the parallel
>portamento at 2:36!

-Carl

I wrote...

>> http://lumma.org/tuning/mason-dixon.mp3
>>
>>Nitelife - Cross the Mason-Dixon Line
>>---------------------------------------
>>What's going on at 1:29, between "pin -" and "-ing"? A comma
>>adjustment? Or just a "mistake"?

Heart is pin-ing. Heart is A7, then Dm on pin-ing. Between
the pin and ing there is a "swap" (where two parts exchange
notes on adjacent beats). But there is some distortion when
this happens. It sounds like the bass gets sharper?

-Carl

--- In tuning@yahoogroups.com, Carl Lumma <ekin@l...> wrote:

/tuning/topicId_47353.html#47353

> Gene, and any others who are interested, here are some details on
> the barbershop stuff I sent to Francois off-list...
>
> > http://lumma.org/tuning/barbershop.zip
> >

***Thanks so much, Carl, for sending along all this barbershop
stuff. It's great fun. They would make interesting harmonic
analyses as well... not too complex, but kinda quirky...

I really hear just intonation in some of this. I don't know if it's
*intentional*... I rather doubt it, but they "fall into it..."
(obviously I'm not the first person to notice this... :)

I get a kick out of the fact that these innocent tunes are currently
being subjected to spectral analysis...

This list is great fun sometimes...

Thanks again!

JP

>I get a kick out of the fact that these innocent tunes are currently
>being subjected to spectral analysis...

Glad you enjoyed them, but while the tunes themselves have humble
origins, the arrangements are light years ahead of anything else
I've found in choral music.

-Carl

--- In tuning@yahoogroups.com, Carl Lumma <ekin@l...> wrote:
> >I get a kick out of the fact that these innocent tunes are
currently
> >being subjected to spectral analysis...
>
> Glad you enjoyed them, but while the tunes themselves have humble
> origins, the arrangements are light years ahead of anything else
> I've found in choral music.
>
> -Carl

Try the "Madrigals" by William Brooks (recording by Electric Phoenix)
or the Hungarian Etudes by Ligeti.

Gabor

--- In tuning@yahoogroups.com, Carl Lumma <ekin@l...> wrote:

/tuning/topicId_47353.html#47378

> >I get a kick out of the fact that these innocent tunes are
currently
> >being subjected to spectral analysis...
>
> Glad you enjoyed them, but while the tunes themselves have humble
> origins, the arrangements are light years ahead of anything else
> I've found in choral music.
>
> -Carl

***Oh, I wasn't meaning to disparage them in any way. The harmonic
progressions are fascinating and the ensemble work is incredible.
I just meant it was funny that such "upbeat" ditties were being
subjected to critical scientific examination. *I* found that funny,
personally, but maybe I have a weird sense of "humor..."

JP

i've added some new lattice-diagrams to the Dictionary
definition of "Pythagorean", which show the diatonic scale,
L and s, and the chromatic semitones:

http://sonic-arts.org/dict/pythag.htm

-monz

--- In tuning@yahoogroups.com, "monz" <monz@a...> wrote:
> i've added some new lattice-diagrams to the Dictionary
> definition of "Pythagorean", which show the diatonic scale,
> L and s, and the chromatic semitones:
>
> http://sonic-arts.org/dict/pythag.htm
>
>
>
>
> -monz

this page mentions the octave-reduction of 3^665 as the "satanic
comma"

i note that there are now 665 members of this list.

draw your own conclusions :)