Mostly internal changes to simplify modulations

Listen here:

Subscribe here:

This is a work in progress...

Variable variability.

Another in a series

Listen here:

Subscribe here:

This is a work in progress...

Only a few minutes to work today. Insert the bridge into the theme.

A bridge from a circle of fifths

Listen here:

Subscribe here:

This is a work in progress...

Make a bridge from a circle of fifths. How simple. Since the introduction is in C major, go up a 5:4 (17 steps in 53) to E minor, then down a 3:2 (31 steps) to A, down a 3:2 to D, down a 3:2 to G, then up a 77:76 (one step) to G+, then down a 3:2 (31 steps) back to C major. 77:76 is the ratio of a single step in 53 tone equal temperament (or Equal Divisions of the Octave, EDO). If the 3:2 were really a 3:2 instead of 31 steps of 53 EDO, and if the 5:4 were really a 5:4 instead of 17 steps of the 53 EDO, then the comma would be 81:80, instead of 77:76. But it's close enough for audio work.

Add another finger piano

Listen here:

Subscribe here:

This is a work in progress...

I added a finger piano playing arpeggio based on descending triads. 6:5:4 and 11:9:7 in the key of C.

The percussion is more of that sitka spruce board with the contact microphone and an assortment of combs, rocks, screws, and other devices glued to the surface. One makes a kind of "cookie" sound from a metal comb with different length prongs.

More of the 53 tone music

Listen here:

Subscribe here:

This is a work in progress...

Just a small change to the flute melody. More in the future. As always.

Sing in 53 - EDO

Listen here:

Subscribe here:

This is a work in progress...

And today we have a bit more control over the percussion. Still in C major, but I've also put some work into making the modulation easier.

Add a flute

Listen here:

Subscribe here:

This is a work in progress...

The mix deepens.

Another in a series - Working towards a piece in 53 Tone Equal Divisions of the Octave - 53-EDO

Listen here:

Subscribe here:

This is a work in progress...

Considering the ability to modulate, why not refer to all chords as relative steps:

Here's how major triads in their three inversions can be written. First you see the inversions of the 4:5:6 overtones, then the 9:11:14 overtone triads:

.maj3-u-a135 t+0 t+17 t+14
.maj3-u-a351 o-1t+17 t+14 t+22
.maj3-u-a513 o-1t+31 t+22 t+17
@
.maj3-u-b247 t+9 t+16 t+18 t+19
.maj3-u-b472 o-1t+25 t+18 t+19 t+16
.maj3-u-b724 o-1t+43 t+19 t+16 t+18
@

Then when you want to call a chord, just start it with the key like this:

t0&maj3-u-a3*.

This translates to Csound code for three notes at scales steps 17, 17+14=31, and 31+22 = 53, which translates to 0, the tonic.

More insect life as percussion from the Dry Spring.

Sing the song in 53 - 2

Listen here:

Subscribe here:

This is a work in progress...

These are samples from an instrument I made in 1975 or so. It's a piece of 1/4 inch Sitka Spruce, with a contact microphone attached. I've glued assorted noise makers to the surface of the wood. Each is rubbed with rosined fingers, struck, or scraped with small tools. I call it a dry spring.

Sing in 53

Listen here:

Subscribe here:

This is a work in progress...

Consider it a requirement that I write at least one piece in 53 tone equal before I turn 54 in March. Equal sure is easier for modulation. This one stays in the Partch tonality diamond, but it could easily just wander out at a moment's notice.

Ballon Drum Song #26

Listen here:

Subscribe here:

This is a work in progress...

Added an opening half measure and more second flute parts.

Ballon Drum Song

Listen here:

Subscribe here:

This is a work in progress...

More percussion, some changes to the bass line to add glissandi, and two alto flutes instead of one.

Balloon Drum Naima

Listen here:

Subscribe here:

This is a work in progress...

I added a bit of percussion: Balloon Drum, Guiro, Shaker.

Trumpet Music for Flute, Harp, and Finger Piano but no Trumpet. Now why is that?

Listen here:

Subscribe here:

This is a work in progress...

This time I've added a bit of intentional "munchkinization" to some of the samples. That is, I intentionally use a sample of a note two or three notes lower than normally chosen, which results in a sharper timbre. The choice is randomized. The effect is kind of like playing closer or farther from the bridge on a string instrument. The effect is applied to the finger piano and harp chords and arpeggios.

The first few measures are all here

Listen here:

Subscribe here:

This is a work in progress...

Now that the first few measures have been complete, I need to go back and liven things up a bit. There's too much repetition here.

Trumpet Music for Flute, Harp, and Finger Piano but no Trumpet. Now why is that?

Listen here:

Subscribe here:

This is a work in progress...

just more measures.

more Niama

Listen here:

Subscribe here:

This is a work in progress...

Shifted down to the key of G minor with a C in the bass.

More Trumpet Music for Flute, Harp, and Finger Piano

Listen here:

Subscribe here:

This is a work in progress...

Just the addition of a vamp and a finger piano chord based on the 7/9/11 with the melody starting on the 13th overtone. Do you think Mr. Coltrane planned it that way?

Trumpet Music for Flute, Harp, and Finger Piano

Listen here:

Subscribe here:

Now imagine the right note in the bass, and all the other notes as overtones of that note.

More Naima

As you may know, I am somewhat obsessed with the song Naima by John Coltrane. For those who would like to wander down a jazz alley consisting of nothing but people playing nothing but Naima, as I did tonight on Rhapsody, here's a playlist.


My Rhapsody Playlist

You have to have the service, which is great if you like other people's music and are willing to sit at your computer and listen, neither of which I am. But, you never can tell when you might be at someone's house who pays the $10-15 dollars a month to have unlimited access to music at their computers. I only listen to music while I walk, or if my kids are playing. That's why I prefer podcasts. But that's just me. This experiment with 33 versions of Naima has been terrific. I highly recommend it if you can spend the time. I only listened to the first 24 bars or so of each. Can you imagine what Barry White could have done with this song if had set his mind to it? Breathless...

Naima #17

Listen here:

Subscribe here:

This is a work in progress...

Extended. There is some tuning problems at the end. The last two chords are a 7/4 major to an 8/5 major. I'm going to have to look into that some time...

Trumpet Song #16 - Naima

Listen here:

Subscribe here:

This is a work in progress...

Today I corrected the tuning of the bass flute, which was as much as 50 cents sharp on some low notes. I still need more fine tuning. It is hard to tune a sample with such deep vibrato. On the plane from Denver to Omaha I was able to get close. More accuracy will require some quiet time.

Trumpet Song #15 - Naima

Listen here:

Subscribe here:

This is a work in progress...

Just a small change of instrumentation from alto flute to bass flute, and an adjustment from 24+24+24+24+8 to 48+32+48 in the bass finger piano.

Trumpet Song #14 - Naima

Listen here:

Subscribe here:

This is a work in progress...

Naima, the Coltrane song, in 6-4-6 rhythm and some microtonal scales.

Trumpet Song #13

Listen here:

Subscribe here:

This is a work in progress...

I wonder what happens when I give up on those University of Iowa brass samples and switch the the tried and true finger piano, alto flute, and harp samples? I guess I'm just not but out to make slow music. The faster it goes, the more I like the sound.