Jacob Barton: Difference between revisions
Wikispaces>xenjacob **Imported revision 3484050 - Original comment: ** |
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: This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2007- | : This revision was by author [[User:xenjacob|xenjacob]] and made on <tt>2007-05-16 01:09:57 UTC</tt>.<br> | ||
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# short sketch of **string quartet** in a simple 9-out-of-**quartertones** scale. not too shabbily read! | # short sketch of **string quartet** in a simple 9-out-of-**quartertones** scale. not too shabbily read! | ||
# two Bb **clarinets**, but with one tuned a **sixth-tone** (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended. | # two Bb **clarinets**, but with one tuned a **sixth-tone** (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended. | ||
# **[[SeventeenTonePianoProject]]**. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. | # **[[SeventeenTonePianoProject]]**. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted. | ||
# **[[http://www.udderbot.com|udderbot]]**, a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for **solo** pieces in the near future.</pre></div> | # **[[http://www.udderbot.com|udderbot]]**, a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for **solo** pieces in the near future. | ||
# **Autotuning** via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of //up to 31// notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</pre></div> | |||
<h4>Original HTML content:</h4> | <h4>Original HTML content:</h4> | ||
<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>JacobBarton</title></head><body><em>What was your path to discovering alternate tunings?</em><br /> | <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>JacobBarton</title></head><body><em>What was your path to discovering alternate tunings?</em><br /> | ||
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<em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br /> | <em>What instruments or means have you successfully used in the making of microtonal music? Recommendations?</em><br /> | ||
Here are the things I've tried, in roughly chronological order, which I've called &quot;Microtonal Solutions&quot;, many of which involve Western acoustic instruments:<br /> | Here are the things I've tried, in roughly chronological order, which I've called &quot;Microtonal Solutions&quot;, many of which involve Western acoustic instruments:<br /> | ||
<ol><li>obtain a <strong>reed organ</strong> and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it &quot;otonal organ&quot;. Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged <strong>Max/MSP</strong> to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when <strong>Scala</strong>'s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using <strong>Helmholtz-Ellis-Wilson-Monzo</strong> notation. Disaster! The signs &lt; and &gt; were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any <strong>31-tone bassoon</strong> compositions anyone wants to throw at me.</li><li>tried to teach an <strong>ensemble</strong> (violin, saws, bass, trombones, bassoon) to play <strong>in 31</strong>, notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to <strong>bottle choir</strong>. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in <strong>8-equal</strong> (sesquitones!) for <strong>chamber ensemble</strong> (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of <strong>string quartet</strong> in a simple 9-out-of-<strong>quartertones</strong> scale. not too shabbily read!</li><li>two Bb <strong>clarinets</strong>, but with one tuned a <strong>sixth-tone</strong> (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li><strong><a class="wiki_link" href="/SeventeenTonePianoProject">SeventeenTonePianoProject</a></strong>. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do.</li><li><strong><a class="wiki_link_ext" href="http://www.udderbot.com" rel="nofollow">udderbot</a></strong>, a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for <strong>solo</strong> pieces in the near future.</li></ol></body></html></pre></div> | <ol><li>obtain a <strong>reed organ</strong> and retune the reeds. Scrape the tips to raise pitch; scrape base of reeds to lower. I retuned a low-end electric-motor organ to 3 octaves of harmonics 12-24 and called it &quot;otonal organ&quot;. Good for JI, but hard to get exactly right. It's still not exactly right.</li><li>synthesizer (MR-Rack) with a user tuning table. I wrote a piece where the tuning was supposed to change between sections, so I rigged <strong>Max/MSP</strong> to send the appropriate sysex messages triggered by a pedal. Piece was for 3 live keyboards, but in performance I accidentally hit the pedal too many times and was stuck playing two sections in the wrong tuning - yuck!</li><li>when <strong>Scala</strong>'s GUI version became available for Mac I made quick friends with the live retuning feature, detwelvulating my QS8, which has robust samples. Still a favorite for auditioning new scales.</li><li>tried to teach an ensemble (clarinet, bass, cellos, violin, kazoo) to play 72-equal using <strong>Helmholtz-Ellis-Wilson-Monzo</strong> notation. Disaster! The signs &lt; and &gt; were oft-confused, and I was really only interested in a small subset of the 72 notes -- more complexity than I needed.</li><li>tried to learn 31-tone fingerings for bassoon, after Johnny Reinhard. Relatively successful, though timbral unevenness between some notes. Hope to do more of it in the future. I welcome any <strong>31-tone bassoon</strong> compositions anyone wants to throw at me.</li><li>tried to teach an <strong>ensemble</strong> (violin, saws, bass, trombones, bassoon) to play <strong>in 31</strong>, notated normally. it really came down to the attitude of the individuals, some of which were better than others. the main problem is a lack of pedagogical materials. i hope to generate some in my lifetime.</li><li>scratched that and went to <strong>bottle choir</strong>. much like handbells, the challenge all of a sudden was not in tuning at all but in lining up rhythms to make hocket melodies. highly successful and fun recommended! was toying with starting an ongoing bottle choir for awhile.</li><li>piece in <strong>8-equal</strong> (sesquitones!) for <strong>chamber ensemble</strong> (violins, cello, flute, oboe, clarinet, udderbot, slide trumpet, trombone, horn). hastily written and rehearsed; results inconclusive. slide instruments fared better than keyed, but the limits of difficulty were breached.</li><li>short sketch of <strong>string quartet</strong> in a simple 9-out-of-<strong>quartertones</strong> scale. not too shabbily read!</li><li>two Bb <strong>clarinets</strong>, but with one tuned a <strong>sixth-tone</strong> (33¢) flat for a composite 24-out-of-36 scale. The clarinet is already not really in 12, and even less so when pulled out. Such a constraint on 36 would make any reasonable xenharmonicist complain, but I found a lot of nice 7-limit stuff as I wrote the piece. Recommended.</li><li><strong><a class="wiki_link" href="/SeventeenTonePianoProject">SeventeenTonePianoProject</a></strong>. I was really really happy with this, but again, it's a compromise of what an instrument natively designed for 17 could do. Hockets - a good problem to have! Also, got so busy being performer and organizer that I didn't manage to compose much of what I wanted.</li><li><strong><a class="wiki_link_ext" href="http://www.udderbot.com" rel="nofollow">udderbot</a></strong>, a new slide bottle, played in any tuning imaginable. cheap and intuitive. like trombone, much depends on what you can hear. i'm working up a piece in 31 right now, and I hope to commission numerous microtonalists for <strong>solo</strong> pieces in the near future.</li><li><strong>Autotuning</strong> via computers. I just purchased VoiceTweaker, an AU/VST that imports scala files and can even do a little harmonizing! I also recently built an autotuner in Kyma capable of <em>up to 31</em> notes per octave (octave repeating, for now), but the only attempt I've made at using it musically was the biggest disaster ever. Needs more work, is what it comes down to.</li></ol></body></html></pre></div> | ||