Name: 10 edo Etude by stashcraft08 in Microtonal
Duration: 1 min 4 s
Description: A collection of short pieces utilizing unique tunings other than 12-TET.

good material; I'd like to hear you expand it into a longer piece

Microtonal

Just a little sketch in 19-tone equal temperament.

19 edo In Five

In Love With Useless (The Timeless Geometry In The Tradition Of Passing)

Chord sequence exploring the flavors of the decatonic major scale in 22 EDO discovered and described by Paul Erlich. [Edited to add: The temperament is called "pajara", and it was discovered independently by Erlich and Gene Ward Smith.] It's mellow, just chords. This is the scale in cents, along with 22 EDO sagittal notation:

 0:          1/1           C
 1:        109.091 cents   C||\    D!!/
 2:        218.182 cents   D
 3:        381.818 cents   D/||\   E\!
 4:        490.909 cents   F
 5:        600.000 cents   F||\    G!!/
 6:        709.091 cents   G
 7:        872.727 cents   G/||\   A\!
 8:        981.818 cents   A/|     B\!!/
 9:       1090.909 cents   A/||\   B\!
10:          2/1           C

Image courtesy of "chooyutshing" on Flickr, CC attribution-non-commercial sharealike license. 
http://www.flickr.com/photos/25802865@N08/4563936947/

Chord sequence in Paul Erlich's 22 EDO decatonic major (pajara).

Using an overdriven rhodes sound to demonstrate how awesome 50EDO is for thirds. Here are most of the thirds, used once each in the sequence. ~15/13 (240c), 7/6 (264c), 13/11 (288c), 6/5 (312c), 17/14 (336c), 5/4 (384c), 9/7 (432c), 13/10 (456c). Which means I've only missed out 16/13 and 81/64(or a mistuned 14/11 if you like).

See if you can work out what's going on by ear. I tried to make the difference tones as obvious as I could by using the gnarliest overdriven sound I could find. I quite like this little chord sequence, but might expand it to try and fit in the other two types of thirds.

Definitely a demo, a few muckups trying to find my way around unfamiliar tonal territory... Enjoy!

Chord sequence for Difference tones in 50EDO

1st draft - afternoon banglewood, july 25 2012
manuscript and tracking
q=84, focused

20120725 Djc EfEGq 01b

K - Cigarrettes After Sex Cover (stashcraft mix)

Star Spangled Banner in 19ET

based off of a frangrance oil i bought online called Silver Cedar
https://oregontrailsoaps.com/Silver-Cedar-Fragrance-Oil.html
"A very noble scent reminiscent of a majestic cedar tree standing tall and proud in the forest of the Pacific Northwest, cedar trees are used for their intoxicatingly aromatic wood and this this scent is full of luxurious crispy cedar freshness. Soft and lovely, it is not overpowering as some can be, it's just perfect. Soaps white, does not accelerate and dries down to a lovely fragrance. I had fun mixing it with citruses and other fragrances and found it to be unbelievably versatile. I think you will, as well." 

Life Haunted

This is a justly intoned arrangement of J. S. Bach's Prelude and Fugue in C Sharp Major, the third Prelude and Fugue of the 48 Preludes and Fugues, a body of work by Bach which demonstrated that with tempered tunings every major and minor key was usable. It was made using a custom sequencer in Excel+Octave which allowed exact frequencies to be specified.

'Comma Travel' means that local sections of the Prelude and Fugue were specified using simple justly intoned ratios, but the whole piece was stitched together by (from time-to-time) specifying commas, that is, microtonal intervals which make the different sections exactly match up. By altering the baseline frequency dynamically in this way, the whole piece of music suffers from 'comma travel' which is the accumulation of commas in the sharp or flat direction, making the music shift up and down in frequency. However, since there's not much in the way of 'comma travel' music already on the market, I thought this would sound interesting to some people!

A more sophisticated way of making the piece of music stay at the same base frequency would be to normalise the commas by dividing out the comma by a local moving average; this has also been done in two separate tracks uploaded at the same time.

Accumulation of commas, normalised or unnormalised, will be explained further in my second JI maths/music paper - pending! The theme of it is how to take any sheet music and retune it into JI using comma alterations, mainly of 5th and 7th harmonics. However, as always, in this track I've snuk in some 11th and 13th harmonics which you might be able to locate by ear or by examining the code blocks in Github (upload pending as of 9th Nov 2015).

Enjoy!

Dave

------------------------

Bach number of this track: BWV848 or BWV 848

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Bach BWV848 Prelude And Fugue in C Sharp Major - Chip Solo Synth, Justly Intoned, Comma Travel

epic lofi synths aaaaaa i spent way too long producing this

I Pulled The Stems

A preview version of a piece that a friend of mine, Aaron A. Hunt, composed as part of a collection of 24 Preludes & Fugues in odd meters:
https://soundcloud.com/uz1kt3k/sets/2005-preludes-and-fugues

The score is available here http://zwillinge.zentral.zone/katalog?en
I'm aware of lots of flaws in this recording (including my performance) and beg your indulgence for this, but I found it was high time to take the next step after all the practising that I had already done: It seemed better to me than to maintain silence.

@uz1kt3k: I hope you forgive that I didn't ask for your permission to use the score cover here beforehand. (meanwhile approved)

G Sharp Minor Prelude

Completed January 13 (Friday), 2017.

Everyone despises you, but they won’t tell you why. They know that something is different about you, but they can’t quite put their finger on what that would be. Perhaps it is some invisible quality that cannot even truly be detected by quantitative means. Perhaps it is the opposite: so obvious, that your obliviousness towards it, at least for the duration of your lifetime, has been quite an achievement. They despise you, they somehow loathe you, in a hidden, societally unacceptable way, because you check all the boxes perfectly. They have told you that you look good, are gifted, are smart, are apparently kind, are cool, are funny, and friendly, which means that you must objectively be likeable. And yet, somehow, even with   these qualities in the bag, you are still an object of secret scorn. The thing that they hate most about you is not even something that they could collectively name, which may be the source of your latent frustration. It likely has to do with how mysterious and guarded you are, how you are extroverted but cannot flirt, how you are joyful but cannot actually ignore your own depressing thinking. Your success is just as false as your happiness. It is that perceived incongruence, real or not, that is so off-putting, that stinks within you, actively repelling the subconscious of all, save the neophyte and the troglodyte. And perhaps everyone who does appear to like you is faking his or her emotions. Why not? There’s no reason to assume the contrary. In fact, there is better reason to assume a lie, considering mainstream motivations and easily manipulated desires. 

Your artistry, all of it, is profound only as a gimmick or an as obscure phenomenon, there for those haters to simply marvel and gawk at because they have not done the same. Who has ever become ethical by simply being new and unique? You have never done so, and never will, even though others may have. To be inventive in the moral realm is a slippery slope to evil with the wrong evolution, and you have been so dull, and so lacking of self-awareness, that the wind and the rain have simply tossed you from one viewpoint to another as you “think” they would. Your worldview is no better than anyone else’s if you consume your own logical medicine like sustenance instead of candy like everyone else claims. Your role as a mere machine or cog, and your inability to conjecture, undermines you as equally as the ant, or anything that nature conjured. And, you try to make things equivalent that are not supposed to be equivalent, or will not be perceived as such.

But maybe no one despises you after all, and you are simply unlucky. “It’s Friday the 13th” you say, knowing full well that this thirteen has lasted the whole month for so many, so many who are not yourself, and who suffer more than you. Your bad luck is their delight, you privileged fool, and they would trade their sanity for your shoes. How dare you entertain this paranoia that you have some fatal flaw, that you let this conceptual femme fatale ensnare your thinking and drive you around in circles? Don’t you know that it’s wasteful to lust after such intellectual falsehood, that its distortion causes suffering that does not even exist to others, or possibly even yourself? A mere mention of this would inspire laughter. What reason do you have to be uncertain compared to anyone else? And why should they believe your anxiousness, since you exude confidence like an expert?

A Mean Little Voice (Bohlen-Pierce, or 13-ED3)

A collection of short pieces utilizing unique tunings other than 12-TET. 

10 edo Etude

SKINNY DREAM - EXHALE

Public radio dork who composes stuff sometimes. This is where I put my sketches and various "art music" things. Peruse my bandcamp (below) for other things. 

10 edo Etude

stashcraft08

Recent comments

Dennis Brian Jr.

Aaron Andrew Hunt

Related tracks