UK Microtonal event - Walton. - Boring?

On 17 Sep 2005, at 02:42, tuning@yahoogroups.com wrote:

> Quarter-tones are by far the most commonly used of these smaller > intervals. A quarter-
> tone is exactly half the size of
> a semitone, an interval which therefore doesn't exist on the piano > but which can be played
> on all the orchestral
> instruments with practice. Quarter-tones can also be played on > specially adapted
> instruments such as guitars or
> brasses with an added fourth, quarter-tone valve.
> The expanded palette of sounds which becomes available through > microtones is being
> sought more and more by
> composers and as well as quarter-tones, in UK MicroFest 1 you can > hear many other
> possibilities realised by
> performers of exceptional ability.
> Microtonal music is not concerned with any particular style of > music, or any particular
> musical culture.

A few 12EDO instruments - tuned half a semitone apart - if that's all the .ac.uk grant chasers are offering - I for one will pass.

Come on; surprise me (with something new or at least 21st century ?) ;-)

Been there - done that - flame war invitation.

Charles Lucy - lucy@harmonics.com
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--- In tuning@yahoogroups.com, Charles Lucy <lucy@h...> wrote:
> A few 12EDO instruments - tuned half a semitone apart - if that's
all
> the .ac.uk grant chasers are offering - I for one will pass.
>
> Come on; surprise me (with something new or at least 21st
century ?) ;-)
>
> Been there - done that - flame war invitation.
>
>
>
> Charles Lucy - lucy@h...

***Does anybody actually have the energy or interest to continue a
flame war about QUARTERTONES??? :)

Actually, for some of my more "conventional" works... i.e.
for "retrograde" players (or "inverted" players, depending), I'm
considering not bucking the trend:

i.e. using quartertones, but maybe slipping in a few sixth tones and
12th tones...

Hence, 72 equal!

J. Pehrson

I would love to study pitch more, and I have an idea
of measuring the pitch of different players. If I want
to measure the pitches of different players, what is
the best way? I thought perhaps to do 2 things - one
is to ask them to play scales, and record them.
Another is to simply record them playing pieces. And
then to somehow analyse the recordings. Does this
sound the right aproach? And what would be the way to
analyse them? Is there a computer program I could use
or something?
Thanks all
Justin.

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--- In tuning@yahoogroups.com, "Justin ." <justinasia@y...> wrote:
> I would love to study pitch more, and I have an idea
> of measuring the pitch of different players. If I want
> to measure the pitches of different players, what is
> the best way? I thought perhaps to do 2 things - one
> is to ask them to play scales, and record them.

That's interesting in its own right, but it won't tell you
much about how they play in an ensemble situation.

> Another is to simply record them playing pieces. And
> then to somehow analyse the recordings. Does this
> sound the right aproach?

If you want to understand ensemble intonation; yes.

> And what would be the way to analyse them? Is there a
> computer program I could use or something?

The best (and only) way to separate the instruments is to
individually mic each instrument with a highly directional
(hypercardioid) microphone, and/or a microphone mounted on
the instruments. Then you load each track into Celemony
Melodyne...

http://www.celemony.com

...and see if you can get a clear reading out of it. If
not, you can try to further cleanse each track of the
rest of the ensemble's signal by, for each track A...

() Mixing together all tracks except for track A.
() Inverting the phase of the resulting file.
() Mixing that into track A, giving A'.

...Then load all the ' tracks into Melodyne and try again.

Once you get a clear reading, you can start arguing about
how to interpret the results with tuning-theory jargon.

To the best of my knowledge (and I have looked and looked),
nothing like this has ever been done. I'd **love** to see
this done. It would take a large effort. . .

-Carl

--- In tuning@yahoogroups.com, "Carl Lumma" <clumma@y...> wrote:
> --- In tuning@yahoogroups.com, "Justin ." <justinasia@y...> wrote:
>
> > And what would be the way to analyse them? Is there a
> > computer program I could use or something?
>
> The best (and only) way to separate the instruments is to
> individually mic each instrument with a highly directional
> (hypercardioid) microphone, and/or a microphone mounted on
> the instruments. Then you load each track into Celemony
> Melodyne...
>
> http://www.celemony.com
>
> ...and see if you can get a clear reading out of it. (...)
>
> To the best of my knowledge (and I have looked and looked),
> nothing like this has ever been done. I'd **love** to see
> this done. It would take a large effort. . .
>
> -Carl

That Melodyne is frightening stuff. Almost enough to put professional
musicians out of business... they could for example retune every pitch
of a melodic track to whatever scale you wanted. Thankfully (or not)
they can't handle chords.

~~~T~~~