twenty-four microtonal compositions

For anyone who might be interested
http://zebox.com/danstearns_2/

Hi

Very nice ! especially music in 14-edo.

Have you heard my piano in 14-edo :

/tuning/files/shaahin/

Shaahin Mohaajeri

Tombak Player & Researcher , Composer

www.geocities.com/acousticsoftombak

My tombak musics : www.rhythmweb.com/gdg

My articles in ''Harmonytalk'':

www.harmonytalk.com/archives/000296.html

www.harmonytalk.com/archives/000288.html

My article in DrumDojo:

www.drumdojo.com/world/persia/tonbak_acoustics.htm

________________________________

From: tuning@yahoogroups.com [mailto:tuning@yahoogroups.com] On Behalf
Of daniel_anthony_stearns
Sent: Sunday, April 23, 2006 6:10 AM
To: tuning@yahoogroups.com
Subject: [tuning] twenty-four microtonal compositions

For anyone who might be interested
http://zebox.com/danstearns_2/

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thanks, i will check it, later it looks like (it was claiming i
wasn't a member, so i'll have to take a look...thought i
was) .Anyway, try the pieces in 11 and 13edo there if you get a
chance...probably not what you'd think given these tuning's
reputation.......i'd be interested to know. take care, daniel

--- In tuning@yahoogroups.com, "Mohajeri Shahin" <shahinm@...> wrote:
>
> Hi
>
> Very nice ! especially music in 14-edo.
>
> Have you heard my piano in 14-edo :
>
> /tuning/files/shaahin/
>
>
>
>
>
> Shaahin Mohaajeri
>
>
>
> Tombak Player & Researcher , Composer
>
> www.geocities.com/acousticsoftombak
>
> My tombak musics : www.rhythmweb.com/gdg
>
> My articles in ''Harmonytalk'':
>
> www.harmonytalk.com/archives/000296.html
>
> www.harmonytalk.com/archives/000288.html
>
> My article in DrumDojo:
>
> www.drumdojo.com/world/persia/tonbak_acoustics.htm
>
>
>
>
>
> ________________________________
>
> From: tuning@yahoogroups.com [mailto:tuning@yahoogroups.com] On
Behalf
> Of daniel_anthony_stearns
> Sent: Sunday, April 23, 2006 6:10 AM
> To: tuning@yahoogroups.com
> Subject: [tuning] twenty-four microtonal compositions
>
>
>
> For anyone who might be interested
> http://zebox.com/danstearns_2/
>
>
>
>
>
>
> You can configure your subscription by sending an empty email to one
> of these addresses (from the address at which you receive the list):
> tuning-subscribe@yahoogroups.com - join the tuning group.
> tuning-unsubscribe@yahoogroups.com - leave the group.
> tuning-nomail@yahoogroups.com - turn off mail from the group.
> tuning-digest@yahoogroups.com - set group to send daily digests.
> tuning-normal@yahoogroups.com - set group to send individual
emails.
> tuning-help@yahoogroups.com - receive general help information.
>
>
>
>
>
> ________________________________
>
> YAHOO! GROUPS LINKS
>
>
>
> * Visit your group "tuning
</tuning>
> " on the web.
>
> * To unsubscribe from this group, send an email to:
> tuning-unsubscribe@yahoogroups.com
> <mailto:tuning-unsubscribe@yahoogroups.com?subject=Unsubscribe>
>
> * Your use of Yahoo! Groups is subject to the Yahoo! Terms of
> Service <http://docs.yahoo.com/info/terms/> .
>
>
>
> ________________________________
>

--- In tuning@yahoogroups.com, "daniel_anthony_stearns"
<daniel_anthony_stearns@...> wrote:
>
> For anyone who might be interested
> http://zebox.com/danstearns_2/
>

Hi Dan- I like what your doing- I wonder if you'd like to discuss
your
process?
I'm on dial-up so I listened to only 4 pieces;
piano prelude1b
guitar choir2
clarinet choir1d
america in Jl
I'm interested in microtunings, but have only taken it as far as
"quarter" (or so) tones on the guitar or fooling with various
intonations on synths that habe that ability.
I once wrote a piece including quater tones for a standard type small
jazz group.
As it was "blusey" in nature the players pulled it off quite well.
Perhaps you'd explain some of the terminology or point me to web
site.
11, 13, 14 edo
NON-just/octave/equal tuning
overtone series 10 and 14
real-time adjustable intonation
free intonation.
I'd like to know what exactly all that means and how one goes about
performing it.
Thanks
KenK

Thanks Ken, I appreciate you taking the time to listen and comment,
and will do my best to answer some of your questions.

Microtonality is full of quirky terms and all kinds of theory; in
fact, it's pretty much a theory head's dream come true! But "edo" is
just a little acronym for Equal Division of the Octave that I coined
back in the late 1990s because I started using tunings like 11 and 13-
tone equal temperament, tunings that were so far removed from common
practice that they could hardly really be seen as having anything to
do with temperament in the true historical and practical sense. So
EDO is just a synonym for the acronym TET (tone equal temperament, as
in 12-tone equal temperament, or 12-tet) that I thought was more in
line with what I was doing with these tunings at the time—that is
taking them at face value with no meaningful attachment to the common
practice, tempered past. To my surprise this term EDO seemed to
resonate with the community (cult) , and has since taken on a life of
its own.

When I say "NON-just/octave/equal tuning" I simply mean that these
pieces use a tuning that is neither Just Intonated, an equal division
of a given periodicity (like the octave or the twelfth, etc), or even
tunings with octaves. That might sound awfully convoluted or whatnot,
but all of those particular tunings I came about empirically by
improvising with the fretless guitar and making notes of the tunings
and preferences as I did so. Then I flew these tunings over to a
tuning table and composed music rather intuitively with them. So it
might sound complex or academic or even silly, but it was really a
quite simple, if unusual, process.

"overtone series 10 and 14" means that the tuning is based on these
two overtone series:

10:11:12:13:14:15:16:17:18:19:20
1/1, 11/10, 6/5, 13/10, 7/5, 3/2, 8/5, 17/10, 9/5, 19/10, 2/1

14:15:16:17:18:19:20:21:22:23:24:25:26:27:28
1/1, 15/14, 8/7, 17/14, 9/7, 19/14, 10/7, 3/2, 11/7, 23/14, 12/7,
25/14, 13/7, 27/14, 2/1

So I combined these two series and mapped them to two octaves on the
keyboard.

By "real-time adjustable intonation" I mean that these pieces (and
these interestingly enough for anybody here, are jazz pieces) use
four turntables and two separate recordings. So the turntables are
set in pairs and each pair has the same record as its paired partner,
yet each pair's recording is unrelated. By using the pitch knob in a
manner somewhat analogous to a dimmer switch, each pair tries to keep
their recording synched to the other pairs, as well as their
partners! And this requires a constant gradual sharpening and
flattening of the recording resulting in a real-time adjustable
intonation.

By "free intonation" I mean intonation without predetermined theory
or design, and here that refers to two things, 1) pieces for
instruments (like the trombone or the violin or the human voice, etc)
without fixed pitch, and 2) pieces featuring little modest homemade
instruments with an intonation of their own unfortunate construction!

Performance is another thing altogether, and in some ways
microtonality forces a lot of its practitioners off to islands of
their own design .There are performers and organizations that
specialize in just this very thing, the AFMM (American festival of
microtonal music) being the most accomplished and varied proponent ,
but I myself have been involved in microtonality for almost 20 years
now and have never had any performance or recording where I wasn't
either doing it all myself or training ,bribing, coercing and begging
others to at least have a look and a listen…

Thanks again, Dan