Sleeping Wolve's Dance - some drums

This is a work in progress. Too complex now, but I have a plan. All will become clear when I reduce the randomness by a factor. Play it here

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Sleeping Wolve's Dance - some brass

This is a work in progress. I added some trumpet & trombone. This one is not coming together like the previous ones. I may have to go back to the finger piano alone, or switch to woodwinds. And I have't decided on the strings. More later.Play it here

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Sleeping Wolve's Dance - more trills

This is a work in progress. As the heading says, I added more trills. They had been dummied before, defaulting to no movement. I finally calculated the new distance and the appropriate Csound table for the new trills. Here's what one looks like in Csound:

f 568 0 256 -7 1 16 1 0 1.14428343 16 1.14428343 0 1 16 1 0 1.14428343 16 1.14428343 0 1 192 1

and here's what it looks like in graphic form:

Note that it goes up and down, up and down, then stays down. Not really a trill, more of an ornamental. I have real trills too, but these are different. They sound kind of like moving your fingers over the holds on a real thumb piano to get vibrato. But they modulate the pitch instead of the amplitude.

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Sleeping Wolve's Dance

This is a work in progress.
I saw a very nice thumb piano at the Goodwill Store in Seattle, and played it for a minute or two. It was terribly out of tune, but it had a nice sound. I went home and wrote this song and used a more carefully selected tuning system and finger piano samples. Play it here

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Ernie's Shuffle on Ten #6

This is a work in progress. I tracked down that stack overflow bug, but not before spending several hours trying to figure out what was causing it. Then I found it:

@ here's your stack overflow. fool.
.fin1-42-a01 &fin1-42-a01*.
.bdr1-42-a01 &bdr1-42-a01*.
.bdr2-42-a01 &bdr2-42-a01*.
.bdr3-42-a01 &bdr3-42-a01*.
.bdr4-42-a01 &bdr4-42-a01*.
.bdr5-42-a01 &bdr5-42-a01*.

Of course every time I asked for a resolution of &fin1-42-a01*. it would return &fin1-42-a01*. until the stack overflowed. Amazing. I'm back on track now.
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Ernie's Shuffle on Ten - more keys

This is a work in progress. And the progress has been slowed by a bug in my pre-possessor where Turbo Pascal posts a run time error indicating a stack overflow. It works find as long as the randomizer is limited to very random, and fails when I ask for less random choices. Weird. Ernie is not happy.Play it here

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Ernie's Shuffle on Ten - Over the Toutle River Brige

This is a work in progress. I am working on the distant modes in the scale. Some are quite challenging. I worked on this as the Amtrak train was heading south from Portland to Seattle, and as we passed over the Toutle River Bridge where that sad mad was killed by a freight train yesterday.

1. scale degrees - bass note - character of the mode
2. 482615 1 harsh
3. 594826 6 harsh
4. 615948 1 harsh
5. 716A58 1 weird
6. 826149 8 sweet
7. 948269 9 sweet
8. A59482 5 challenge

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Ernie's Shuffle on Ten - added the melody

This is a work in progress. Added a melody and variations using multi-octave unison oboe, bassoon, and french horn samples. It's all based on the single six note chord on scale degrees 1 6 9 4 8 & 2 out of the ten note pallette. Modulation to other six note scales come next.Play it here

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Ernie's Shuffle on Ten

This is a work in progress. I made some samples of a set of Ernie Ball Super Slinky guitar strings and used them in this piece. The scale is based on the overtones in the tonality diamond starting on the 8:5, but with the 1:1 in the bass. So that makes the following ratios:

1:1 21:20 11:10 6:5 13:10 7:5 3:2 8:5 9:5 28:15 2:1


Then I derive some six note scales from that scale. The first one I tried uses scale degrees 1 6 9 4 8 2, which is two fourth chords stacked up. The ratios are:

1:1 7:5 9:5 6:5 8:5 21:20.


Here's the whole matrix of the ten notes from which the six at a time are chosen.


There are nine other 6 note chords to go, but I started with this one because it has so many low numbered ratios. And it sounded sweet on my keyboard with an electric piano sound. With these close mic'ed string sounds, the character is quite different.

I've scored the piece so far for the Ernie Ball Super Slinky strings, finger piano, balloon drums and tube drums. I will have to add a melody instrument at some point. Consider this the vamp for now, waiting for the lead singer to start. It has a kind of Devo vibe to it now.

The rhythm is combinations of 2 & 3 to make seven. For example: 2 + 2 + 3 or 2 + 3 + 2 or 3 + 2 + 2. These measures are combined into groups to make a five measure unit. I change the randomization for each of those units from highly repetitive to not repetitive. Kind of like: repeat a phrase 5 times, then go crazy, then repeat a phrase 5 times, then go crazy.

Lots more to do, but it sounded good enough for now to post.

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Modes for Strings #7

This is a final version of this piece. It steps through eight 5 & 6 note combinations of the ten note scale, about two minutes for each. There's a vamp, then a melody, then some variations for each one. The character of each is quite different. I also change the bass note twice. It starts on the 1:1, then goes up to the 8:7, back to the 1:1 then later down to the 12:7. When on the 8:7 and 12:7, the bass reinforces the other notes in a harmonic series, for the most part, so they are more consonant. The other scales are more challenging. Think of it as a sushi bar where you get some California Roll mixed in with omakase (literally "trust the chef"). Is that squid moving? See 8:30 for the 716A48 chord.

Here's a matrix of the ten notes and the ratios one to the other:

The ten note scale is from top to bottom on the left: 1:1, 15:13 8:7 26:21 9:7 10:7 3:2 12:7 13:7 27:14 and 2:1. This set can also be thought of as 14:14 15:14 16:14 26:21 18:14 20:14 21:14 24:14 26:14 27:14 28:14, almost all a part of the overtone series. The key difference is that the root of the scale, 14:14, is the seventh overtone of the other notes in the scale, instead of the first. Putting that 7th in the base shakes things up a bit. And I can move it around to reinforce the harmonic series for contrast.

The piece starts out with a mode made up of stacked fourths, and proceeds to change them. Here's the list, with the number indicating the scale degree out of the ten in the matrix.

• A58371
• 26A583
• 371615
• 483716
• 583716
• 615837
• 716A48
• 83726A
• A58371

For the second one, 26A583, I move the bass down to the 12:7, so it's consonant with the other notes in the series. 26A583 is made up of the ratios 15:14 10:7 27:14 9:7 12:7 8:7. But if you assume the 12:7 is in the bass, then the ratios relative to that 8:7 become 5:4 5:3 9:8 3:2 1:1 4:3. Those are all in the harmonic series relative to the A at scale degree 8, except for the 4:3, which is not. But it sounds so sweet I had to leave it in. All these five or six note scales, derived from the ten, were chosen because they sound good in stacked fourth chords. I just couldn't resist the 4:3 relative to the root on A. It's not too removed from the overtone series after all.

The bass moves back to the 1:1 for a while, until about 3/4 of the way through when it shifts to 615837, when I use the 8:7 in the bass. The ratios relative to the 8:7 for that set of six notes are 5:4 7:4 9:8 3:2 1:1 21:16. That 21:16 is not in the overtone series. And it's a 64:63 away from a 4:3 above the 1:1 in the scale. But it's close enough to fake it in this context as part of the melodic flow.

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Modes for Strings - now with more trills & slides

This is a work in progress. Today I added some trills and slides to the melody section. The modes are made of different 5 or 6 note scales derived from the 10 note scale shown here:



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Modes for Strings - better balance this time

This is a work in progress. So there will be frequent updates.
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Modes for Strings

This is a work in progress. It's much longer than any of my usual incomplete works. But that's because it steps through a lot of different modes of a scale. The scale used is based on the overtone series for the most part, but the tonic is the 7/4. Here's a picture of it.



I created several modes from the scale based on 4ths chords. For example, it starts in the mode with the 1st, 3rd, 5th, 7th, 8th, and Ath degree of the scale. These represent the ratios of 1:1 8:7 9:7 3:2 12:7 27:14 2:1. These can also be described as 14:14 16:14 18:14 21:14 24:14 27:14 and 28:14. I then pile them up to make a pair of fourth cords, A 5 8 and 3 7 1. I like fourths. I found eight modes from the 10 note scale, and assembled them into a list. I then step through them one at a time for about 45 seconds each. Once with a melody, then without, then variations on the melody. I have a lot more work to do on this, but it has a nice movement as it steps through the modes that are more jagged and unequal in step sizes to those that are very pentatonic. The first one is rather pentatonic.

Here are the rest:

• A58371
• 26A583
• 371615
• 483716
• 583716
• 615837
• 716A48
• 83726A

It's scored at the moment just for violin, viola, cello, long strings, and finger piano, but I plan to add some percussion. It doesn't have a beginning or an end yet. But I'll get there soon enough.

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Serenade for Alto Flute #15

The 15th pass through the algorithm was pretty nice also. Have to make a choice soon. Play it here

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Serenade for Alto Flute #10

This one is done for now. It's based on a scale I used on my 12 note finger piano:

1. 7:7
2. 8:7
3. 9:7
4. 10:7
5. 21:14
6. 12:7
7. 27:14
8. 28:14

It has a very large 1st and 5th steps: 8:7, and two very small steps: 10:7 to 21:14 is only 21:20, and the step from 27:14 to 28:14 is only 28:27. It makes for some nice melodic passages, and trills can vary from as small as 28:27 to 8:7. Lots of variety is available. These are the only 7 pitches in the piece - I don't modulate to any other key but C. The slides of course hit other tones, but the start and end tones are all one of those seven pitches. If someone recognizes the scale, let me know so I can give credit to the inventor.

The instrumentation is Alto Flute, finger piano bass, long and short .024" music wire strings with the pickup as close as possible to the bridge, oboe, balloon drums, and tube drums.

As with all my music, there is a great deal of indeterminacy. Each instrument has lots of choices about what it will play at each moment, based on different randomization algorithms. Sometimes it tries to repeat itself, and sometimes it tries to chose something it hasn't chosen lately. The format starts with a bridge, then a melody, then variations. It repeats that structure four times.

Here's a picture of the bench I used to make the long string samples. The longest is about 18 feet long, and the shortest just a few inches for the very high notes. The location is a wall in my office made of a glulam beam composed of six four by sixes laminated together. It's very solid and helps the samples sustain so long (up to 20 seconds for the long ones.) The less the instrument vibrates, the longer the sustain.



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Serenade for Alto Flute - new String samples

This is a work in progress.

I made some new string samples, this time using a more solid base and bridge setup, so that the notes sounded better. Here's a picture of the end of the bench.

On the far right is the zither tuning pin (from Bart Hopkin's Experimental Musical Instruments online store.) Then a small metal rod as the bridge on one end, and next the magnetic transducer. Notice how close to the bridge it's located. This gives the strings more of a harpsichord sound than guitar. The left end of the picture is the movable bridge. In this picture it's a very short string, making a very high note. The longest ones are around 15'. Notice also the rugged method which which the transducer is mounted: scotch tape. It only has to last a few minutes while I record the samples.

Then it's on to CoolEdit to crop and tune the samples:

On the CoolEdit screen you can see the waveform of the string in green on the right. This is the first part of a sample at D#7 22 cents flat. That's a very high note. I try to edit out any silence from the start of the note so that the attack happens when I expect it. Csound adjusts the pitch by moving it up 22 cents during sound generation.

Here's how it sounds in a the Serenade I've been working on:

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Serenade for Alto Flute - more work on the parts #2

This is a work in progress.

I'm working on the bed for the flute solo. It's vamp that the flute will play against. Today I added guitar trills. It was challenging to get them right. I'll have to reduce the bass finger piano volume soon. There are a set of changes I anticipate making on my flight home to Seattle tomorrow night. Let's see what that produces. Play it here

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Serenade for Alto Flute - more work on the parts

This is a work in progress.
Today I was able to work on the variations of the theme. Dotted eighth and sixteenth or two eighth notes. I plan more variations, but that's a start. I'm really digging the long string parts. I've built a new jig at home to make more long string samples. I already have samples that go from G0 to B0, but then they skip all the way up to G3. This means that when Csound looks for a sample to play, it has to use one that was far lower than the called for note. Best practices says that samples should not be more than a whole tone away from their original note. I planned to close that gap today, but was called to a customer meeting in Portland. I can't wait to see what the gap filling produces.Play it here

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Serenade for Alto Flute

This is a work in progress.

Today's entry is the start of a piece on a tuning that I used to use on one of my finger pianos. It's a subset of the tonality diamond, just 12 notes per octave. Here's a picture of the tuning, based on the overtones of C and F.

I always liked a mode based on the 7:6 and 7:4. They are a 3:2 apart, and make a nice bass drone. The chords above are a bit strange, but attractive in their own way. I shifted the mode down a 7:6, so that the tonic was on c. Here's a picture of that:

The number on the right column is the scale degree. The next column is the note name, the Sagittal accidental, then the 72-EDO number, and the ratio. Notice that the 2nd degree of the scale is a huge 8:7. Makes a big jump on that first step.

This version is scored for alto flute, finger piano, long strings, and oboes. It's just a start for now.

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Strings in 9/8 #10

I think this is the final take on this piece. I added some more variety in the theme and the bridge, and more variations. There is one point towards the end when it repeats a time or two too many times, but this take it at least repeats something interesting. There are lots of string chords that glide from one chord to another, like a pedal steel guitar might do. And the bass spring is more defined here.

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