Deja Igliashon: Difference between revisions
Wikispaces>igliashon **Imported revision 4476356 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
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: This revision was by author [[User:igliashon|igliashon]] and made on <tt>2007-05-18 03: | : This revision was by author [[User:igliashon|igliashon]] and made on <tt>2007-05-18 03:09:12 UTC</tt>.<br> | ||
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I know a lot of microtonalists who entered the field via a quest for more "in tune" intervals. This is not at all how I came upon alternate divisions of the octave. In high school, I became obsessed with the idea of making music that was truly "new", something that was not just another iteration of a tired old formula. First I sought novelty in eccentric compound meters; but after discovering the world of progressive metal, I realized I wasn't on to anything really "new" (at least, not novel enough to satisfy me). I became fatalistic; "there are only 12 notes in the octave, so there are only so many chord progressions, so many melodies...after enough permutations, the possibilities will be extinct, unless music becomes less repetitive and more linear; but even then, music will still sound pretty much the same." Gazing glumly at my guitar fretboard one night, despairing over the 12-note limit, I suddenly had an epiphany: what if there were //more// than 12 notes? It was a real face-slapper, to tell the truth. My first thought was 13 notes per octave: what would that do to music? What would my guitar sound like if it had 13 frets in an octave? My intuition told me it'd probably be pretty horrible. But then I thought, what about 14 notes? Or 15? Heck, why not 20? I knew 24 would be the quartertone scale, and I'd heard some music written with quartertones and not found it all that stimulating. But the possibility of these other numbers intrigued me. Unfortunately, at this point in my history, I didn't yet know the terms "microtonal" or "xenharmonic" or "just intonation" or even "equal temperament", and Google hadn't yet taken off. So my epiphany failed to catch fire and was shelved while I whiled away the time seeking novelty in 12-tone Equal Temperament. | I know a lot of microtonalists who entered the field via a quest for more "in tune" intervals. This is not at all how I came upon alternate divisions of the octave. In high school, I became obsessed with the idea of making music that was truly "new", something that was not just another iteration of a tired old formula. First I sought novelty in eccentric compound meters; but after discovering the world of progressive metal, I realized I wasn't on to anything really "new" (at least, not novel enough to satisfy me). I became fatalistic; "there are only 12 notes in the octave, so there are only so many chord progressions, so many melodies...after enough permutations, the possibilities will be extinct, unless music becomes less repetitive and more linear; but even then, music will still sound pretty much the same." Gazing glumly at my guitar fretboard one night, despairing over the 12-note limit, I suddenly had an epiphany: what if there were //more// than 12 notes? It was a real face-slapper, to tell the truth. My first thought was 13 notes per octave: what would that do to music? What would my guitar sound like if it had 13 frets in an octave? My intuition told me it'd probably be pretty horrible. But then I thought, what about 14 notes? Or 15? Heck, why not 20? I knew 24 would be the quartertone scale, and I'd heard some music written with quartertones and not found it all that stimulating. But the possibility of these other numbers intrigued me. Unfortunately, at this point in my history, I didn't yet know the terms "microtonal" or "xenharmonic" or "just intonation" or even "equal temperament", and Google hadn't yet taken off. So my epiphany failed to catch fire and was shelved while I whiled away the time seeking novelty in 12-tone Equal Temperament. | ||
Years later, I remembered my old idea of having more than 12 notes, and after a few clunky Google searches of things like "more than 12 notes per octave", I came upon the word "microtonal". This word was like a magic key to me: it unlocked a whole new world. Not long after, I paid a local luthier an exorbitant price to sloppily and inaccurately refret one of my guitars to 31-EDO, and from then on I've been accumulating microtonal guitars (in 22-EDO, 13-limit JI, 15-EDO, and soon 17-EDO) and searching obsessively for new patterns, new tonalities, new melodic shapes, new ideas that //sound good// (or at least intriguing), and fantasizing about expanding musical consciousness to embrace microtonality. | Years later, I remembered my old idea of having more than 12 notes, and after a few clunky Google searches of things like "more than 12 notes per octave", I came upon the word "microtonal". This word was like a magic key to me: it unlocked a whole new world. The internet divulged to me the secret microtonal community that had long been growing along its underbelly, and there I found advice, mentorship, and a lot of infighting. The music of Harry Partch, Jon Catler, and Neil Haverstick were the first to catch my fancy; much more followed. After a brief period of studying Just intonation theory, I became convinced the equal temperaments were really what I was after. Not long after, I paid a local luthier an exorbitant price to sloppily and inaccurately refret one of my guitars to 31-EDO, and from then on I've been accumulating microtonal guitars (in 22-EDO, 13-limit JI, 15-EDO, and soon 17-EDO) and searching obsessively for new patterns, new tonalities, new melodic shapes, new ideas that //sound good// (or at least intriguing), and fantasizing about expanding musical consciousness to embrace microtonality. | ||
//What are your current/past/future particular interests?// | //What are your current/past/future particular interests?// | ||
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I know a lot of microtonalists who entered the field via a quest for more &quot;in tune&quot; intervals. This is not at all how I came upon alternate divisions of the octave. In high school, I became obsessed with the idea of making music that was truly &quot;new&quot;, something that was not just another iteration of a tired old formula. First I sought novelty in eccentric compound meters; but after discovering the world of progressive metal, I realized I wasn't on to anything really &quot;new&quot; (at least, not novel enough to satisfy me). I became fatalistic; &quot;there are only 12 notes in the octave, so there are only so many chord progressions, so many melodies...after enough permutations, the possibilities will be extinct, unless music becomes less repetitive and more linear; but even then, music will still sound pretty much the same.&quot; Gazing glumly at my guitar fretboard one night, despairing over the 12-note limit, I suddenly had an epiphany: what if there were <em>more</em> than 12 notes? It was a real face-slapper, to tell the truth. My first thought was 13 notes per octave: what would that do to music? What would my guitar sound like if it had 13 frets in an octave? My intuition told me it'd probably be pretty horrible. But then I thought, what about 14 notes? Or 15? Heck, why not 20? I knew 24 would be the quartertone scale, and I'd heard some music written with quartertones and not found it all that stimulating. But the possibility of these other numbers intrigued me. Unfortunately, at this point in my history, I didn't yet know the terms &quot;microtonal&quot; or &quot;xenharmonic&quot; or &quot;just intonation&quot; or even &quot;equal temperament&quot;, and Google hadn't yet taken off. So my epiphany failed to catch fire and was shelved while I whiled away the time seeking novelty in 12-tone Equal Temperament.<br /> | I know a lot of microtonalists who entered the field via a quest for more &quot;in tune&quot; intervals. This is not at all how I came upon alternate divisions of the octave. In high school, I became obsessed with the idea of making music that was truly &quot;new&quot;, something that was not just another iteration of a tired old formula. First I sought novelty in eccentric compound meters; but after discovering the world of progressive metal, I realized I wasn't on to anything really &quot;new&quot; (at least, not novel enough to satisfy me). I became fatalistic; &quot;there are only 12 notes in the octave, so there are only so many chord progressions, so many melodies...after enough permutations, the possibilities will be extinct, unless music becomes less repetitive and more linear; but even then, music will still sound pretty much the same.&quot; Gazing glumly at my guitar fretboard one night, despairing over the 12-note limit, I suddenly had an epiphany: what if there were <em>more</em> than 12 notes? It was a real face-slapper, to tell the truth. My first thought was 13 notes per octave: what would that do to music? What would my guitar sound like if it had 13 frets in an octave? My intuition told me it'd probably be pretty horrible. But then I thought, what about 14 notes? Or 15? Heck, why not 20? I knew 24 would be the quartertone scale, and I'd heard some music written with quartertones and not found it all that stimulating. But the possibility of these other numbers intrigued me. Unfortunately, at this point in my history, I didn't yet know the terms &quot;microtonal&quot; or &quot;xenharmonic&quot; or &quot;just intonation&quot; or even &quot;equal temperament&quot;, and Google hadn't yet taken off. So my epiphany failed to catch fire and was shelved while I whiled away the time seeking novelty in 12-tone Equal Temperament.<br /> | ||
<br /> | <br /> | ||
Years later, I remembered my old idea of having more than 12 notes, and after a few clunky Google searches of things like &quot;more than 12 notes per octave&quot;, I came upon the word &quot;microtonal&quot;. This word was like a magic key to me: it unlocked a whole new world. Not long after, I paid a local luthier an exorbitant price to sloppily and inaccurately refret one of my guitars to 31-EDO, and from then on I've been accumulating microtonal guitars (in 22-EDO, 13-limit JI, 15-EDO, and soon 17-EDO) and searching obsessively for new patterns, new tonalities, new melodic shapes, new ideas that <em>sound good</em> (or at least intriguing), and fantasizing about expanding musical consciousness to embrace microtonality.<br /> | Years later, I remembered my old idea of having more than 12 notes, and after a few clunky Google searches of things like &quot;more than 12 notes per octave&quot;, I came upon the word &quot;microtonal&quot;. This word was like a magic key to me: it unlocked a whole new world. The internet divulged to me the secret microtonal community that had long been growing along its underbelly, and there I found advice, mentorship, and a lot of infighting. The music of Harry Partch, Jon Catler, and Neil Haverstick were the first to catch my fancy; much more followed. After a brief period of studying Just intonation theory, I became convinced the equal temperaments were really what I was after. Not long after, I paid a local luthier an exorbitant price to sloppily and inaccurately refret one of my guitars to 31-EDO, and from then on I've been accumulating microtonal guitars (in 22-EDO, 13-limit JI, 15-EDO, and soon 17-EDO) and searching obsessively for new patterns, new tonalities, new melodic shapes, new ideas that <em>sound good</em> (or at least intriguing), and fantasizing about expanding musical consciousness to embrace microtonality.<br /> | ||
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<em>What are your current/past/future particular interests?</em><br /> | <em>What are your current/past/future particular interests?</em><br /> | ||