Experiments in exotic tuning systems. Read more: http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Just Intonation

Experiments with microtonal tuning

9/9 (1/1) - unison
10/9 - small whole tone
11/9 - neutral third
12/9 (4/3) - perfect fourth
13/9 - tridecimal diminished fifth
14/9 - subminor sixth
15/9 (5/3) - major sixth
16/9 - Pythagorean minor seventh
17/9 - large septendecimal major seventh
18/9 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Nonary Primodality - First Octave

Experiments with microtonal tuning

14/14 (1/1) - unison
15/14 - septimal diatonic semitone
16/14 (8/7) - supermajor second
17/14 - septendecimal supraminor third
18/14 (9/7) - supermajor third
19/14 - Hendrix fourth
20/14 (10/7) - high tritone
21/14 (3/2) - perfect fifth
22/14 (11/7) - undecimal minor sixth
23/14 - unnamed
24/14 (12/7) - supermajor sixth
25/14 - middle minor seventh
26/14 (13/7) - tridecimal submajor seventh
27/14 - supermajor seventh
28/14 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Septimal Primodality - Second Octave

Experiments with microtonal tuning

7/7 (1/1) - unison
8/7 - supermajor second
9/7 - supermajor third
10/7 - high tritone
11/7 - undecimal minor sixth
12/7 - supermajor sixth
13/7 - tridecimal submajor seventh
14/7 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Septimal Primodality - First Octave

Experiments with microtonal tuning

10/10 (1/1) - unison
11/10 - undecimal submajor second
12/10 (6/5) - minor third
13/10 - tridecimal semisixth 
14/10 (7/5) - narrow tritone
15/10 (3/2) - perfect fifth
16/10 (8/5) - minor sixth
17/10 - septendecimal major sixth
18/10 (9/5) - minor seventh
19/20 - undevicesimal diminished octave
20/10 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Quintal Primodality - Second Octave

Experiments with microtonal tuning

5/5 (1/1) - unison
6/5 - minor third
7/5 - narrow tritone
8/5 - minor sixth
9/5 - minor seventh
10/5 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Quintal Primodality - First Octave

Experiments with microtonal tuning

8/8 (1/1) - unison
9/8 - major second
10/8 (5/4) - major third
11/8 - undecimal superfourth 
12/8 (3/2) - perfect fifth
13/8 - (lesser) tridecimal neutral sixth
14/8 (7/4) - harmonic seventh
15/8 - major seventh
16/8 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Quartal Primodality - Second Octave

Experiments with microtonal tuning

18/18 (1/1) - unison
19/18 - large undevicesimal semitone
20/18 (10/9) - small whole tone
21/18 (7/6) - subminor third
22/18 (11/9) - neutral third
23/18 - not named
24/18 (4/3) - perfect fourth
25/18 - augmented fourth
26/18 (13/9) - tridecimal diminished fifth
27/18 (3/2) - perfect fifth
28/18 (14/9) - subminor sixth
29/18 - unnamed
30/18 (5/3) - major sixth
31/18 - unnamed
32/18 (16/9) - Pythagorean minor seventh
33/18 (11/6) - undecimal neutral seventh
34/18 (17/9) - large septendecimal major seventh
35/18 - septimal semidiminished octave
36/18 (2/1) - octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Nonary Primodality - Second Octave

Experiments with microtonal tuning

4/4 (1/1) – unison
5/4 – major third
6/4 (3/2) – perfect fifth
7/4 – harmonic seventh
8/4 (2/1) – octave

http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Quartal Primodality - First Octave

Experiments in just intonation.

6/6 (1/1) - unison
7/6 - subminor third
8/6 (4/3) - perfect fourth
9/6 (3/2) - perfect fifth
10/6 (5/3) - major sixth
11/6 - undecimal neutral seventh
12/6 (2/1) - octave

Read more: http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Seximal Primodality First Octave

Experiments in just intonation.

12/12 (1/1) - unison
13/12 - neutral second
14/12 (7/6) - subminor third
15/12 (5/4) - major third
16/12 (4/3) - perfect fourth
17/12 - larger septendecimal tritone
18/12 (3/2) - perfect fifth
19/12 - large undevicesimal minor sixth
20/12 (5/3) - major sixth
21/12 (7/4) - harmonic seventh
22/12 - undecimal neutral seventh
23/12 - vicesimotertial major seventh
24/12 (2/1) - octave

Read more: http://www.ethanhein.com/wp/2021/i-made-some-music-in-exotic-just-intonation-tunings-because-why-not/

Seximal Primodality Second Octave

I'm giving a lecture on Miles Davis' recording of "Someday My Prince Will Come," so I've had the track on the brain a lot. I thought it would be interesting to remix, and just to make it more fun, to take the 3/4 original and put it in 4/4. I programmed the basic hip-hop beat underneath, and also added some heavily processed drums from Prince -- hopefully they'll slip below the radar and this won't get taken down.

Someday My Prince Will Come remix

I'm making my students rap, and to encourage them, I'm doing it to. Samples are from Erroll Garner's recording of "Close To You" by the Carpenters.

rap

Does anybody need to hear a white dad rapping?
Can I get your foot tapping, your hands clapping?
As I'm uncapping my rhymes, am I remapping your minds?
Am I overlapping all of the lines?
This is music education
I write this for the motivation
of the Pop Practicum
It's practical and praxial
An actual factual academic requirement 
Am I going to be making beats in my retirement?
You may ask, why me, why do I have to do this?
How will I get through this?
Will I sound corny and inauthentic?
I'm feeling frantic, it's not romantic
I'm digging through Rhymezone.com
traversing the rhizome, not calm,
following a trail of free association
exersizing my freedom of association and freedom of speech
This is an unorthodox way to teach
I'm not an emcee, more of a producer
I hope this beat gets you looser
It's Errol Garner playing a song by the Carpenters
like a feral farmer sharpening the long tools of a gardener
Why do birds suddenly appear, every time you are near?
Just like me, they long to be a dope emcee
Do you believe me?
I listen to too much Lin-Manuel Miranda, can you tell?
maybe you can't understand a word
maybe I'm being too clever
that will be my problem forever
I feel no need to make sense whatsoever
but whatever
Whenever I write rhymes
the light shines in me
and maybe in you too
So now let me hear what you can do

Rap Spring 2022

Wilson Pickett vs Steam vs Nas vs Batman vs Katamari vs Bananarama vs the Beatles. A mashup inspired by this Randall Munroe cartoon: http://xkcd.com/851_make_it_better/

Read more: http://www.ethanhein.com/wp/2011/na-na-na-na/

Na Na Na Na

Led Zeppelin vs Björk vs Memphis Minnie vs Dr Dre ft The Lady of Rage vs Sophie B Hawkins. Read more: http://www.ethanhein.com/wp/2009/the-levee-break/

When The Levee Breaks Megamix

The Verve vs the Andrew Oldham Orchestra vs the Staple Singers vs the Rolling Stones vs James Brown. (I had to pitch shift JB pretty extremely to get him into the same key as everyone else.) This song is a tragic intellectual property parable; read more: http://www.ethanhein.com/wp/2009/bitter-sweet-symphony/

Bitter Sweet Symphony Megamix

I'm teaching drum programming to various of my students right now, and I talk about this rhythm a lot. Mostly just posting this so I have an example at hand to point to. Read more about son clave: http://www.ethanhein.com/wp/2013/why-is-son-clave-so-awesome/

Son Clave

The Prudencetron is a bunch of loops I pulled from the "Dear Prudence" stems, played back with an APC40. I don't usually perform my remixes live and am trying to branch out. I did go back and tidy this up a little, but mostly you're hearing it as I improvised it. A companion piece to this: https://soundcloud.com/ethanhein/dear-prudence-megamix

Read more: http://www.ethanhein.com/wp/2014/ableton-session-view-and-instrument-design/

Dear Prudencetron

Pete Rock & CL Smooth vs Tom Scott vs Jefferson Airplane vs Common vs De La Soul vs Kanye West vs The Beginning And The End vs Mary J Blige. Read more: http://www.ethanhein.com/wp/2010/they-reminisce-over-you/

They Reminisce Over You Megamix

Eddie Harris vs Ed OG & Tha Bulldogs vs Miles Davis vs Fu-Schnickens vs Nas. See <a href="http://www.ethanhein.com/wp/2011/freedom-jazz-dance/">a blog post</a> about this tune.

Freedom Jazz Dance megamix

See a blog post about this break: http://www.ethanhein.com/wp/2011/the-amen-break/ and check out my Amen Brother megamix: http://soundcloud.com/ethanhein/amen-brother-megamix


Amen break

Vassily Kalinnikov vs Willie Nelson vs James Brown. Musical accompaniment to this post: http://www.ethanhein.com/wp/2014/the-saddest-chord-progression-ever/

The Saddest Chord Progression Ever

Quick classical remix, unaltered MIDI file played back on a couple of synths over a James Brown break. Inspired by this wiseass: https://youtu.be/-4lB4t8X4EU But in all seriousness, I have a hard time understanding how the rhythms in this piece work, and I thought that putting them on the grid might help me hear them. I still don't get them completely, but they do sound really cool.

Read more about this track:http://www.ethanhein.com/wp/2018/learning-debussys-clair-de-lune-with-ableton-live/

Update: hear the piece in its correct time signature. https://soundcloud.com/ethanhein/clair-de-lune-in-actual-98

Clair de Lune

Continuing my project to teach myself the greatest hits of the classical canon through remixing their MIDI versions. Read more about this track: http://www.ethanhein.com/wp/2018/remixing-saties-gymnopedie-no-1-with-ableton-live/

Gymnopédie No 1 Remix

"O Superman" by Laurie Anderson meets "Superstition" by Stevie Wonder meets Super Mario Bros.

O Superstition

Does "Giant Steps" work as trip-hop? You be the judge. I played the solo section by slicing the head to MIDI and jamming on my QWERTY keyboard. Read more: http://www.ethanhein.com/wp/2018/giant-steps/

Giant Steps Remix

The Junto this week asked us to make music for an audience of one. My audience is Jacob Collier. It's a remix of a video he made explaining how his arrangement of "In The Bleak Midwinter" modulates through various keys to end up in G half-sharp major. That's the key midway between G and A-flat. It's the geekiest thing I've ever heard. 

https://youtu.be/5vrhKI7JHQc?t=1005

I find the joy of Collier's explanation to be much more effecting than the arrangement itself. In general, while I like Collier's energy and enthusiasm for harmony, I find his actual music to be exhausting. It's too much information. So I guess this track is my way of requesting that Collier make music the way I like it: more repetitive, more groove-oriented, more hip-hop flavored.

BTW, in addition to the Jacob Collier samples and 808, I also used the same Mahavishnu Orchestra breaks from last week's Junto project: https://soundcloud.com/ethanhein/vital-transformation-transformation-disquiet0379

More on this 380th weekly Disquiet Junto project — Ears Only / The Assignment: Record a piece of music for an audience of one — at:

https://disquiet.com/0380/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0380-ears-only/

There’s also on a Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project adapted (cropped, colors changed, text added, cut’n’paste) thanks to a Creative Commons license from a photo credited to Andrew West:

https://flic.kr/p/2bg8zN

https://creativecommons.org/licenses/by-nc-sa/2.0/

Jacob Collier's Four Magical Chords (disquiet0380)

All sounds sampled from the multitrack stems. I improvised the basic structure on the Push and then then did a lot of post-production.

A Day In The Life Re-Edit

I made myself a track to practice "Donna Lee" at a relaxed tempo. The beat is from "God Make Me Funky" by the Headhunters. Percussion is from Tito Puente's arrangement of "Donna Lee." I programmed the bass. All bebop make good funk tunes if you slow them down dramatically.

Donna Lee shed track - 97 bpm

I set myself the challenge to remix this song using nothing but the sounds in the track itself. Hear the 5.1 surround sound remix and read about the production here: http://www.ethanhein.com/wp/2013/remixing-here-comes-the-sun-in-5-1-surround/

I was motivated to create a surround remix of a Beatles song by hearing the Beatles Love album. I found the remixes inspiring, but also frustrating, since they don't vary too far from the original songs. I chose “Here Comes The Sun” because I have the multitracks, and because I heard potential to find new musical ideas within them.

I aimed to create a “dream” version of “Here Comes The Sun.” The song already occupies two different realities, the pastoral one implied by the acoustic guitar and simple lyrics, and the surreal one implied by the synthesizers. I wanted to bring the surreal aspect more to the forefront, by making the synths more prominent, by removing guitar and by adding vocoder and delay.
Rock fans revere their favorite albums as sacred texts. Beatles albums are particularly prone to this kind of iconic worship. Electronic and hip-hop musicians view their favorite recordings quite differently. We dig the crates searching for raw material for further creative work. We regard sampling, remixing and mashing up tracks to be the sincerest form of homage. There is no better way to get inside a recording than to remix it. The process of considering alternative mixing, editing and effects decisions forces you to engage in the active and analytic listening called for by Moylan. My own understanding of and admiration for the Beatles has deepened profoundly since I began to actively engage their material as a source of my own music.

I decided to limit myself solely to sounds found in the original multitrack of “Here Comes The Sun” -- it's such a rich source of inspiration that bringing in more material felt totally unnecessary. That said, I did use some effects from Ableton Live, including a vocoder to create additional vocal harmony; compression to bring particular sounds to the forefront of the mix; and various forms of delay for greater psychedelic flavor.

Here Comes The Sun Remix

Audio examples for this post: http://www.ethanhein.com/wp/2019/the-groove-pizzeria/

Pentuplets

11-vs-5 polyrhythm

5-vs-4 polymeter

5-vs-4 polyrhythm

An homage to one of the stars of my dissertation. Source audio here: https://youtu.be/MSxoLJujM-k?t=1799

Read more about why I did this here: http://www.ethanhein.com/wp/2019/remixing-ben-shapiro/

Ben Shapiro

What if this iconic Bach piece was four times longer? Through the magic of copy and paste, we can find out! Read more: http://www.ethanhein.com/wp/2019/bachs-suite-for-solo-cello-no-1-prelude/

Bach G Major Cello Suite Prelude Copy And Paste Mix

Measures 81 through 83 of the chaconne from Bach's D minor violin partita looped over some beats. Read more about it: http://www.ethanhein.com/wp/2019/chord-progressions-in-the-bach-chaconne/

Bach's Mystery Chords

Combining my five favorite versions: Brad Mehldau vs the Beatles vs the Five Stairsteps vs Siouxsie and the Banshees vs the Jerry Garcia Band.

Read more:
http://www.ethanhein.com/wp/2020/dear-prudence/

See also:
https://soundcloud.com/ethanhein/dear-prudence-spaced-out-stem-re-edit
https://soundcloud.com/ethanhein/dear-prudencetron

Dear Prudence Megamix

One-take improvisation on a C harmonica, recorded in NYU's fabulous James Dolan Studio.

Harmonica Meditation

Alexis Weissenberg's recording of Debussy's "Claire de Lune" warped out over beats sampled from Led Zeppelin, McCoy Tyner and Adam Makowicz.

Source recordings:
https://www.youtube.com/watch?v=7_BtiHVE7Og
www.youtube.com/watch?v=CWf5FYSK7Yc
www.youtube.com/watch?v=Z8o1sqHUlgc
youtu.be/j8BuB7OyQdU?t=1080

Clair De Lune - Alexis Weissenberg Crunge Mix

Doctoral Fellow in Music Education at NYU; adjunct professor of music technology and music education at Montclair State University

Ethan Hein

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