Earwig: Difference between revisions
Wikispaces>Andrew_Heathwaite **Imported revision 392719096 - Original comment: ** |
Wikispaces>Andrew_Heathwaite **Imported revision 392719624 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-12-16 12: | : This revision was by author [[User:Andrew_Heathwaite|Andrew_Heathwaite]] and made on <tt>2012-12-16 12:13:31 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>392719624</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | 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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The idea with the other three variations was to apply a different rhythmic transform to the theme. The lengths of the sections thus correspond to the level of time-stretching or -compressing applied to the theme. For example, the third variation stretches out the theme almost beyond recognition, and is the longest. Pitch selection was largely free and intuitive, but I did try to emphasize certain chords or dyads here and there, and of course I was interested in a complex weaving of lines. The fourth variation sticks the closest to the Orwell generator chain and is constantly modulating through the Orwell circle in a similar way to the melody itself. | The idea with the other three variations was to apply a different rhythmic transform to the theme. The lengths of the sections thus correspond to the level of time-stretching or -compressing applied to the theme. For example, the third variation stretches out the theme almost beyond recognition, and is the longest. Pitch selection was largely free and intuitive, but I did try to emphasize certain chords or dyads here and there, and of course I was interested in a complex weaving of lines. The fourth variation sticks the closest to the Orwell generator chain and is constantly modulating through the Orwell circle in a similar way to the melody itself. | ||
Note that the note-naming system here is standard for 31-EDO (in this case with Sagittal accidentals), and is based on meantone temperament. Thus, the particular relationships of Orwell are somewhat obscured. If different tunings of Orwell were desired ([[22edo]] or [[53edo]] for instance), new scores would have to be produced. | Note that the note-naming system here is standard for 31-EDO (in this case with Sagittal accidentals), and is based on meantone temperament. Thus, the particular relationships of Orwell are somewhat obscured. If different tunings of Orwell were desired ([[22edo]] or [[53edo]] for instance), new scores would have to be produced. However, this piece was conceived in 31-equal. The circularity of the theme through the Orwell generator chain requires that 31 Orwell generators get you to the octave. | ||
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The idea with the other three variations was to apply a different rhythmic transform to the theme. The lengths of the sections thus correspond to the level of time-stretching or -compressing applied to the theme. For example, the third variation stretches out the theme almost beyond recognition, and is the longest. Pitch selection was largely free and intuitive, but I did try to emphasize certain chords or dyads here and there, and of course I was interested in a complex weaving of lines. The fourth variation sticks the closest to the Orwell generator chain and is constantly modulating through the Orwell circle in a similar way to the melody itself.<br /> | The idea with the other three variations was to apply a different rhythmic transform to the theme. The lengths of the sections thus correspond to the level of time-stretching or -compressing applied to the theme. For example, the third variation stretches out the theme almost beyond recognition, and is the longest. Pitch selection was largely free and intuitive, but I did try to emphasize certain chords or dyads here and there, and of course I was interested in a complex weaving of lines. The fourth variation sticks the closest to the Orwell generator chain and is constantly modulating through the Orwell circle in a similar way to the melody itself.<br /> | ||
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Note that the note-naming system here is standard for 31-EDO (in this case with Sagittal accidentals), and is based on meantone temperament. Thus, the particular relationships of Orwell are somewhat obscured. If different tunings of Orwell were desired (<a class="wiki_link" href="/22edo">22edo</a> or <a class="wiki_link" href="/53edo">53edo</a> for instance), new scores would have to be produced.<br /> | Note that the note-naming system here is standard for 31-EDO (in this case with Sagittal accidentals), and is based on meantone temperament. Thus, the particular relationships of Orwell are somewhat obscured. If different tunings of Orwell were desired (<a class="wiki_link" href="/22edo">22edo</a> or <a class="wiki_link" href="/53edo">53edo</a> for instance), new scores would have to be produced. However, this piece was conceived in 31-equal. The circularity of the theme through the Orwell generator chain requires that 31 Orwell generators get you to the octave.<br /> | ||
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