Yahoo Tuning Groups Ultimate Backup tuning Fugue a3 in 15ET

New piece written this weekend and posted as a MIDI file here:

"Fugue a3 in 15ET" is my third composition using TBX1 with a standard MIDI keyboard (this time a KORG 01/w 61 key) and notation software (Overture for Mac OSX).

The subject emphasizes the good halfsteps, thirds and sevenths of 15ET. I used the fifths melodically to get around the circle in five steps.

Special Thanks to Ozan Yarman for writing his invention in 7/8 meter which inspired this subject in 7/16 meter. I posted versions for piano, marimba and square wave.

Yours,
Aaron Andrew Hunt
H-Pi Instruments

🔗Carl Lumma <clumma@yahoo.com>

> New piece written this weekend and posted as a MIDI file here:
>
> http://www.h-pi.com/downloads.html
>
> "Fugue a3 in 15ET" is my third composition using TBX1 with a
> standard MIDI keyboard (this time a KORG 01/w 61 key) and
> notation software (Overture for Mac OSX).
>
> The subject emphasizes the good halfsteps, thirds and sevenths
> of 15ET. I used the fifths melodically to get around the circle
> in five steps.
>
> Special Thanks to Ozan Yarman for writing his invention in
> 7/8 meter which inspired this subject in 7/16 meter. I posted
> versions for piano, marimba and square wave.

For some reason I think this piece is less successful than
your others. I'm at a loss to say exactly why... In some
way, it fails to leverage the resources of 15 ... it sounds
like something that would sound better in 12.

-Carl

🔗Ozan Yarman <ozanyarman@ozanyarman.com>

I found it to be quite charming, contrary to what Carl may think.

Cordially,
Oz.
----- Original Message -----
From: Aaron Andrew Hunt
To: tuning@yahoogroups.com
Sent: 04 Şubat 2007 Pazar 23:19
Subject: [tuning] Fugue a3 in 15ET

New piece written this weekend and posted as a MIDI file here:

http://www.h-pi.com/downloads.html

"Fugue a3 in 15ET" is my third composition using TBX1 with a standard MIDI keyboard (this time a KORG 01/w 61 key) and notation software (Overture for Mac OSX).

The subject emphasizes the good halfsteps, thirds and sevenths of 15ET. I used the fifths melodically to get around the circle in five steps.

Special Thanks to Ozan Yarman for writing his invention in 7/8 meter which inspired this subject in 7/16 meter. I posted versions for piano, marimba and square wave.

Yours,
Aaron Andrew Hunt
H-Pi Instruments

🔗yahya_melb <yahya@melbpc.org.au>

--- In tuning@yahoogroups.com, "Ozan Yarman" <ozanyarman@...> wrote:
>
> I found it to be quite charming, contrary to what Carl may think.
>
> Cordially,
> Oz.
> ----- Original Message -----
> From: Aaron Andrew Hunt
> To: tuning@yahoogroups.com
> Sent: 04 ï¿½ubat 2007 Pazar 23:19
> Subject: [tuning] Fugue a3 in 15ET
>
>
> New piece written this weekend and posted as a MIDI file here:
>
> http://www.h-pi.com/downloads.html
>
> "Fugue a3 in 15ET" is my third composition using TBX1 with a
standard MIDI keyboard (this time a KORG 01/w 61 key) and notation
software (Overture for Mac OSX).
>
> The subject emphasizes the good halfsteps, thirds and sevenths of
15ET. I used the fifths melodically to get around the circle in five
steps.
>
> Special Thanks to Ozan Yarman for writing his invention in 7/8
meter which inspired this subject in 7/16 meter. I posted versions
for piano, marimba and square wave.
>
> Yours,
> Aaron Andrew Hunt
> H-Pi Instruments

It has some pleasant moments, particularly in the
higher portions of the piece's range, where the
"colour" shifts markedly away from the original.
For me, it works quite well in my default marimba
timbre. However, I do prefer others of your pieces
on your website. This is probably because the parts
are often in very close, even crossing harmony, and
thus it becomes difficult to track the progression
of the subjects - particularly in this metre and
rhythm. Perhaps I need to listen to it more than
the thrice I have so far.

Regards,
Yahya

🔗yahya_melb <yahya@melbpc.org.au>

Regards,
Yahya

🔗Aaron Andrew Hunt <aahunt@h-pi.com>

Thanks everyone for listening and for the feedback!

I agree that many passages would sound better (more in tune) if the tuning were not 15ET,
but the whole piece would not sound better in 12. Although the piece is diatonic, it was
not composed in 12 and then ported over to 15. It was written completely in 15, listening
to how 15 sounded and what 15 could do, and there are many passages which are unique
to 15, which simply do not work in 12.

I was attempting to use the "good" diatonic intervals of 15ET to write a piece in a standard
form which would also give an example of some of the unique possibilities of 15. The
subject statements and cadences work in 12, but the episodes do not.

It could be that stylistically this piece is a bit at odds with the tuning. It was an
experiment; only the second piece in 15 I have tried to compose, and maybe not the most
effective, but there will probably be others that I hope may be more successful : )

I do think it's a good enough work to stand multiple listenings, and the dissonant and odd
effects of 15 should be lessened with repetition.

Cheers,
Aaron Hunt

--- In tuning@yahoogroups.com, "Carl Lumma" <clumma@...> wrote:
>
> > New piece written this weekend and posted as a MIDI file here:
> >
> > http://www.h-pi.com/downloads.html
> >
> > "Fugue a3 in 15ET" is my third composition using TBX1 with a
> > standard MIDI keyboard (this time a KORG 01/w 61 key) and
> > notation software (Overture for Mac OSX).
> >
> > The subject emphasizes the good halfsteps, thirds and sevenths
> > of 15ET. I used the fifths melodically to get around the circle
> > in five steps.
> >
> > Special Thanks to Ozan Yarman for writing his invention in
> > 7/8 meter which inspired this subject in 7/16 meter. I posted
> > versions for piano, marimba and square wave.
>
> For some reason I think this piece is less successful than
> your others. I'm at a loss to say exactly why... In some
> way, it fails to leverage the resources of 15 ... it sounds
> like something that would sound better in 12.
>
> -Carl
>

🔗Carl Lumma <clumma@yahoo.com>

> I do think it's a good enough work to stand multiple listenings,
> and the dissonant and odd effects of 15 should be lessened with
> repetition.
>
> Cheers,
> Aaron Hunt

I've got a good amount of practice listening to 15. It wasn't
just the tuning that failed to move me, either. I'm not
slamming the piece -- please don't get the wrong impression.
I just think it was lacking something.

-Carl

🔗Aaron Andrew Hunt <aahunt@h-pi.com>

I wasn't suggesting that anyone who didn't find my piece compelling hasn't had enough
practice listening to 15ET. I am also not at all offended if people are not moved by my
music. With any new piece, it's possible that someone might be moved, but it's always a
sure bet that someone won't be moved. Some like one thing, some like another; each to
his own, it takes all kinds, suit yourself, whatever floats your boat, there is no accounting
for taste and so on and so forth. I've been in this business a while. No worries, mate!

Yours,
Aaron Hunt
H-Pi Instruments

--- In tuning@yahoogroups.com, "Carl Lumma" <clumma@...> wrote:

> I've got a good amount of practice listening to 15. It wasn't
> just the tuning that failed to move me, either. I'm not
> slamming the piece -- please don't get the wrong impression.
> I just think it was lacking something.
>
> -Carl
>

🔗Carl Lumma <clumma@yahoo.com>

> I wasn't suggesting that anyone who didn't find my piece
> compelling hasn't had enough practice listening to 15ET.
> I am also not at all offended if people are not moved by my
> music. With any new piece, it's possible that someone might
> be moved, but it's always a sure bet that someone won't be
> moved. Some like one thing, some like another; each to
> his own, it takes all kinds, suit yourself, whatever floats
> your boat, there is no accounting for taste and so on and
> so forth. I've been in this business a while. No worries, mate!

That was my misguided attempt at constructive criticism.
I think some of the stuff on your site is really great; I've
been sending people there off-list. Something didn't match
up for me with this one, so I thought I'd say something.
Is there any good way to give criticism on a mailing list?
For many years I gave nothing but positive feedback -- and
there was (and is) plenty deserving of that. Recently, though,
I've been thinking I might try to tip-toe on the other side
if I think I have something clever to say about what didn't
work for me...

-Carl

🔗Herman Miller <hmiller@IO.COM>

Carl Lumma wrote:

> That was my misguided attempt at constructive criticism.
> I think some of the stuff on your site is really great; I've
> been sending people there off-list. Something didn't match
> up for me with this one, so I thought I'd say something.
> Is there any good way to give criticism on a mailing list?
> For many years I gave nothing but positive feedback -- and
> there was (and is) plenty deserving of that. Recently, though,
> I've been thinking I might try to tip-toe on the other side
> if I think I have something clever to say about what didn't
> work for me...

It would be great if we had a place where we could get constructive criticism on stuff, such as works in progress. Especially for those of us who are less experienced composers (and I count myself in that group). Due to the topic of this list, comments tend to be related to the tuning, but this also relates to other aspects of music making, such as the selection of timbres, register, chord spacing, and so on.

The problem is it's hard to comment on something without having gone down the same path before (or at least something similar). Since so many of us are exploring in so many different directions, it can be hard to pick out something in particular to focus on that could lead to potential improvements. And of course one person's improvements could make things worse from someone else's point of view.

We could use a site like DeviantArt for music, where visitors can leave comments and link to each others' pages. Maybe something like that would be a better format than a mailing list.

🔗p_heddles <p_heddles@yahoo.com>

> We could use a site like DeviantArt for music, where visitors can
>leave comments and link to each others' pages. Maybe something like
>that would be a better format than a mailing list.
Interesting idea. I'm an administrator at an art site
(storm-artists.net), and I could probably set up a music-composition
equivalent quite easily. Any specific ideas? Seriously, I think it's a
great idea.

--- In tuning@yahoogroups.com, Herman Miller <hmiller@...> wrote:
>
> Carl Lumma wrote:
>
> > That was my misguided attempt at constructive criticism.
> > I think some of the stuff on your site is really great; I've
> > been sending people there off-list. Something didn't match
> > up for me with this one, so I thought I'd say something.
> > Is there any good way to give criticism on a mailing list?
> > For many years I gave nothing but positive feedback -- and
> > there was (and is) plenty deserving of that. Recently, though,
> > I've been thinking I might try to tip-toe on the other side
> > if I think I have something clever to say about what didn't
> > work for me...
>
> It would be great if we had a place where we could get constructive
> criticism on stuff, such as works in progress. Especially for those of
> us who are less experienced composers (and I count myself in that
> group). Due to the topic of this list, comments tend to be related to
> the tuning, but this also relates to other aspects of music making,
such
> as the selection of timbres, register, chord spacing, and so on.
>
> The problem is it's hard to comment on something without having gone
> down the same path before (or at least something similar). Since so
many
> of us are exploring in so many different directions, it can be hard to
> pick out something in particular to focus on that could lead to
> potential improvements. And of course one person's improvements could
> make things worse from someone else's point of view.
>
> We could use a site like DeviantArt for music, where visitors can leave
> comments and link to each others' pages. Maybe something like that
would
> be a better format than a mailing list.
>

🔗Herman Miller <hmiller@IO.COM>

p_heddles wrote:
>> We could use a site like DeviantArt for music, where visitors can
>> leave comments and link to each others' pages. Maybe something like
>> that would be a better format than a mailing list.
> Interesting idea. I'm an administrator at an art site
> (storm-artists.net), and I could probably set up a music-composition
> equivalent quite easily. Any specific ideas? Seriously, I think it's a
> great idea.

Hmm.. Well, for a site like that to work for music, you'd need some audio equivalent of a thumbnail -- maybe a 5-second representative clip from the music. Then the main page for each category could loop through the thumbnails of the most recent 5 or so uploads.

A key feature of sites like DeviantArt is the ability to browse through a list of an artist's favorite works from other artists and follow the links. There are sites that almost have the right features -- like SoundClick or Zebox, but you have to go out of your way to find them. With a specialized interest like tuning, there needs to be a simple way to find the music of interest among the flood of 12-ET music.

Prent Rodgers' page on SoundClick has managed to attract a handful of comments. If it wasn't for the annoying features, SoundClick might be a good model to look at for ideas.

http://www.soundclick.com/pro/view/01/default.cfm?BandID=104802

But the trick will how be to encourage comments on specific elements of composition. I don't know what would work for that -- just coming up with wild ideas -- but maybe when submitting a piece of music you could check off items from a list of featured elements (e.g.: microtonality, orchestration, rhythm). That could be another way to find similar pieces for comparison.