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| <h2>IMPORTED REVISION FROM WIKISPACES</h2>
| | ''Eighty-one 9th chords (2006)'' by Jacob Barton. For two pianos tuned to [[17edo]]. |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
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| : This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2010-04-07 16:42:16 UTC</tt>.<br>
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| : The original revision id was <tt>132857613</tt>.<br>
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| : The revision comment was: <tt></tt><br>
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| The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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| <h4>Original Wikitext content:</h4>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Eighty-one 9th chords (2006) by Jacob Barton
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| for two pianos tuned to [[17edo]]
| | == Recording == |
| | [http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3 http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3] |
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| 1st program note:
| | == Score == |
| | [[:File:81_9th_chords.pdf|81_9th_chords.pdf]] |
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| There are three types of thirds in 17-edo; let’s call them subminor (4/17-oct), neutral (5/17-oct), and supermajor (6/17-oct). If a ninth chord is composed of five notes separated by four thirds, then there are 3^4 = 81 of them in 17-edo. You will hear each of these once. Begin with the smallest — all subminor thirds — and end with the largest—all supermajor. The rhythm will help you keep track of the unfolding expansion. If you like the logic of this piece, I recommend the composer Tom Johnson. | | == Program Notes == |
| | '''1.''' "''There are three types of thirds in 17-edo; let’s call them subminor (4/17-oct), neutral (5/17-oct), and supermajor (6/17-oct). If a ninth chord is composed of five notes separated by four thirds, then there are 3^4 = 81 of them in 17-edo. You will hear each of these once. Begin with the smallest — all subminor thirds — and end with the largest—all supermajor. The rhythm will help you keep track of the unfolding expansion. If you like the logic of this piece, I recommend the composer Tom Johnson.''" |
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| Program note:
| | '''2.''' "''In'' Eighty-one ninth chords ''you will hear 81 ninth chords, each one a different type. I tried in the piece to let them be themselves but also connect them. Since composing it I read in'' Born on a Blue Day ''by Daniel Tammet (an autistic savant who sees and feels certain things when thinking about certain numbers) of nine as a number of particular immensity to him. This is exactly what it does here—phrases of length 2 or 8 feel even; 3 or 9 is ever a stretch.''" |
| | | [[Category:Listen]] |
| In Eighty-one ninth chords you will hear 81 ninth chords, each one a different type. I tried in the piece to let them be themselves but also connect them. Since composing it I read in //Born on a Blue Day// by Daniel Tammet (an autistic savant who sees and feels certain things when thinking about certain numbers) of nine as a number of particular immensity to him. This is exactly what it does here—phrases of length 2 or 8 feel even; 3 or 9 is ever a stretch. | | [[Category:17edo]] |
| | | [[Category:Scores]] |
| Recording here:
| | [[Category:Composition]] |
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| http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3
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| Score here:
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| [[file:81_9th_chords.pdf]]</pre></div> | |
| <h4>Original HTML content:</h4>
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| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Eighty-one ninth chords</title></head><body>Eighty-one 9th chords (2006) by Jacob Barton<br />
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| for two pianos tuned to <a class="wiki_link" href="/17edo">17edo</a><br />
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| <br />
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| 1st program note:<br />
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| <br />
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| There are three types of thirds in 17-edo; let’s call them subminor (4/17-oct), neutral (5/17-oct), and supermajor (6/17-oct). If a ninth chord is composed of five notes separated by four thirds, then there are 3^4 = 81 of them in 17-edo. You will hear each of these once. Begin with the smallest — all subminor thirds — and end with the largest—all supermajor. The rhythm will help you keep track of the unfolding expansion. If you like the logic of this piece, I recommend the composer Tom Johnson.<br />
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| <br />
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| Program note:<br />
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| <br />
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| In Eighty-one ninth chords you will hear 81 ninth chords, each one a different type. I tried in the piece to let them be themselves but also connect them. Since composing it I read in <em>Born on a Blue Day</em> by Daniel Tammet (an autistic savant who sees and feels certain things when thinking about certain numbers) of nine as a number of particular immensity to him. This is exactly what it does here—phrases of length 2 or 8 feel even; 3 or 9 is ever a stretch.<br />
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| <br />
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| Recording here:<br />
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| <!-- ws:start:WikiTextUrlRule:19:http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3 --><a class="wiki_link_ext" href="http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3" rel="nofollow">http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3</a><!-- ws:end:WikiTextUrlRule:19 --><br />
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| <br />
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| Score here:<br />
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Eighty-one 9th chords (2006) by Jacob Barton. For two pianos tuned to 17edo.
Recording
http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3
Score
81_9th_chords.pdf
Program Notes
1. "There are three types of thirds in 17-edo; let’s call them subminor (4/17-oct), neutral (5/17-oct), and supermajor (6/17-oct). If a ninth chord is composed of five notes separated by four thirds, then there are 3^4 = 81 of them in 17-edo. You will hear each of these once. Begin with the smallest — all subminor thirds — and end with the largest—all supermajor. The rhythm will help you keep track of the unfolding expansion. If you like the logic of this piece, I recommend the composer Tom Johnson."
2. "In Eighty-one ninth chords you will hear 81 ninth chords, each one a different type. I tried in the piece to let them be themselves but also connect them. Since composing it I read in Born on a Blue Day by Daniel Tammet (an autistic savant who sees and feels certain things when thinking about certain numbers) of nine as a number of particular immensity to him. This is exactly what it does here—phrases of length 2 or 8 feel even; 3 or 9 is ever a stretch."