Bridgeport 2 (Super Particular Tuning)

Note: – this is best listened to at a volume as if you were close up front and center to a fairly powerful orchestra.

The realization uses Sonar 8.5 and Garritan Personal Orchestra 4 (Aria player) and relies heavily on Sonar's sequencing interface. The compositional method was the creation of a number of sequenced motives which were combined as needed with overlays of more traditionally composed portions.

download

http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3

details and online streaming

http://chrisvaisvil.com/?p=125

Note to Cameron and Mike - I quoted both of you in my blog post - if not acceptable give me a shout and I'll take it down.

Chris

Yeah, mon. It even has a lot of oomph at low volume--don't worry.

Sounds great.

On Apr 1, 2010, at 10:03 AM, christopherv wrote:

> Note: – this is best listened to at a volume as if you were close up
> front and center to a fairly powerful orchestra.
>
> The realization uses Sonar 8.5 and Garritan Personal Orchestra 4
> (Aria player) and relies heavily on Sonar's sequencing interface.
> The compositional method was the creation of a number of sequenced
> motives which were combined as needed with overlays of more
> traditionally composed portions.
>
> download
>
> http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3
>
> details and online streaming
>
> http://chrisvaisvil.com/?p=125
>
> Note to Cameron and Mike - I quoted both of you in my blog post - if
> not acceptable give me a shout and I'll take it down.
>
> Chris
>
>

Thank you for the listen and comment Caleb! I'm glad you like it!

Chris

On Thu, Apr 1, 2010 at 10:26 AM, caleb morgan <calebmrgn@...> wrote:

>
>
> Yeah, mon. It even has a lot of oomph at low volume--don't worry.
>
> Sounds great.
>
>
>
>
> On Apr 1, 2010, at 10:03 AM, christopherv wrote:
>
>
>
> Note: – this is best listened to at a volume as if you were close up front
> and center to a fairly powerful orchestra.
>
> The realization uses Sonar 8.5 and Garritan Personal Orchestra 4 (Aria
> player) and relies heavily on Sonar's sequencing interface. The
> compositional method was the creation of a number of sequenced motives which
> were combined as needed with overlays of more traditionally composed
> portions.
>
> download
>
>
> http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3
>
> details and online streaming
>
> http://chrisvaisvil.com/?p=125
>
> Note to Cameron and Mike - I quoted both of you in my blog post - if not
> acceptable give me a shout and I'll take it down.
>
> Chris
>
>
>
>

Chris,

Man, this is a trip.
It sounds very tense and as you said not "pretty" but oddly confident at the same time: certainly not the typical "confused dissonance". It's very jazzy and rhythmic and almost like some sort of horror-movie-ish sub-genre of deep-house.

It seems obvious you are using the entire tuning as if it were a scale...and thus taking parts from different keys (particularly those close notes from different keys that are about 25/24 to 26/25 apart) and meshing them together.

Not exactly my style, but it definitely packs a punch. I still wonder if you are going to release that other piece you showed me, which sounds a lot more middle-of-the-road so far as breadth of tone vs. consonance.

Hi Mike,

Thanks for the listen and comment - and especially the tuning.

The other piece - would that be the first WIP version of this piece?

Otherwise I'm not sure of which piece. I still plan on using the tuning with
pianoteq and controller.

I need to do my taxes - and compose a bass guitar part for a friend, first.

On Thu, Apr 1, 2010 at 11:09 AM, Michael <djtrancendance@...> wrote:

>
>
> Chris,
>
> Man, this is a trip.
> It sounds very tense and as you said not "pretty" but oddly confident at
> the same time: certainly not the typical "confused dissonance". It's very
> jazzy and rhythmic and almost like some sort of horror-movie-ish sub-genre
> of deep-house.
>
> It seems obvious you are using the entire tuning as if it were a
> scale...and thus taking parts from different keys (particularly those close
> notes from different keys that are about 25/24 to 26/25 apart) and meshing
> them together.
>
> Not exactly my style, but it definitely packs a punch. I still wonder if
> you are going to release that other piece you showed me, which sounds a lot
> more middle-of-the-road so far as breadth of tone vs. consonance.
>
>

Chris>"Thanks for the listen and comment - and especially the tuning."
Glad you enjoyed it! To be honest I still have a lot of questions about how to make a "theory" for the 12-tone version of the tuning...the original 7-tone scale subset is much easier as it's virtually impossible to make a sour chord.

If any of you have any ideas (any of you) I'd be interested to hear them. The real problem I see in expanding the 7-tone scale to 12....is this makes the minimum ratio between notes duck under the standard 12TET half-step AKA 15/14 so there are critical band consonance issues due to this closeness.
---Then again if you want dissonance there's your gateway...go for those few close-ratio notes!---

I'm also pretty sure there are several 7-tone scales within the 12-tone tuning, the problem is you can't just slide the intervals of the root 7-tone scale ALA 12TET to get to them (typical non-TET tuning issue).

>"The other piece - would that be the first WIP version of this piece?"
I believe so actually...the tensity this time around got bumped way up. I can still recognize certain melodies/parts, though.

-Michael