Up and down again

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Today we hear from some new sections. Trills are handled by multiplying a note by a function table, like one shown on this page. The numbers represented by the graph are generated in csound with the following code:


f 421 0 256 -7 1 16 1 0 1.1249114 16 1.1249114 0 1 16 1 0 1.1249114 16 1.1249114
0 1 16 1 0 1.124911356 16 1.124911356 0 1 16 1 0 1.124911356 16 1.124911356
0 1 16 1 0 1.124911356 16 1.124911356 0 1 16 1 0 1.124911356 16 1.124911356
0 1 16 1 0 1.124911356 16 1.124911356 0 1 16 1 0 1.124911356 16 1.124911356 ; 9 : 8 120 up & down 9

I tell Csound what function table to multiply the note by, and then get a trill. In this piece, the C is tone 0, D a 9:8 above is tone 9, and E a 5:4 above C is tone 17. I multiply the C by the function number 421, and it trills from C to D. I create a triad with C, E, G, also known as 4:5:6 in just, and trill it to D, F+, A+, also known as 9:11:14. With a certain amount of randomness, it might play zero, one, two, or three notes at a time.

More flute

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In the major keys, the flute gets to play the cello parts.

Adjusting the variability more

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More balance in the cello

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Moving about 1 step at a time

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One of the joys of 53 tone equal is that movements of a single step are so subtle as to be almost imperceptible. Each measure is in one key, then the next measure is up a step, then up another, and then back down in one step increments. Something sounds strange, but you can't put your finger on it.

Rationalizing the Cello Part

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A few changes to shove the cello into the background a bit.

How about a cello?

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There is a nice Cello sample, played rather forcefully, in the McGill University Master Samples. It's called cello martele, but it's not as short as the other martele bow strokes. This one is more just an accented tone.

Another remix

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Adjusting the relative levels of each instrument.

Never Mix with Cans

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The arpeggio was too soft, but with headphones, I didn't notice. Fixed it.

53 Tone song

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A few small changes of key.

Mostly internal changes to simplify modulations

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Variable variability.

Another in a series

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

A bridge from a circle of fifths

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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

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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

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

Sing in 53 - EDO

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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

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The mix deepens.

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

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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

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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

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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

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Added an opening half measure and more second flute parts.

Ballon Drum Song

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

Balloon Drum Naima

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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?

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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

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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.