Eighty-one ninth chords: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
Eighty-one 9th chords (2006) by Jacob Barton
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
: 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 revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext 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;white-space: pre-wrap ! important" class="old-revision-html">Eighty-one 9th chords (2006) by Jacob Barton


for two pianos tuned to [[17edo]]
for two pianos tuned to [[17edo|17edo]]


1st program note:
1st program note:
Line 16: Line 9:
Program note:
Program note:


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.
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.


Recording here:
Recording here:


http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3
[http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3 http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3]


Score here:
Score here:
[[file:81_9th_chords.pdf]]</pre></div>
 
<h4>Original HTML content:</h4>
[[:File:81_9th_chords.pdf|81_9th_chords.pdf]]
<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">&lt;html&gt;&lt;head&gt;&lt;title&gt;Eighty-one ninth chords&lt;/title&gt;&lt;/head&gt;&lt;body&gt;Eighty-one 9th chords (2006) by Jacob Barton&lt;br /&gt;
&lt;br /&gt;
for two pianos tuned to &lt;a class="wiki_link" href="/17edo"&gt;17edo&lt;/a&gt;&lt;br /&gt;
&lt;br /&gt;
1st program note:&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Program note:&lt;br /&gt;
&lt;br /&gt;
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 &lt;em&gt;Born on a Blue Day&lt;/em&gt; 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.&lt;br /&gt;
&lt;br /&gt;
Recording here:&lt;br /&gt;
&lt;br /&gt;
&lt;!-- ws:start:WikiTextUrlRule:19:http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3 --&gt;&lt;a class="wiki_link_ext" href="http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3" rel="nofollow"&gt;http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:19 --&gt;&lt;br /&gt;
&lt;br /&gt;
Score here:&lt;br /&gt;
&lt;!-- ws:start:WikiTextFileRule:0:&amp;lt;img src=&amp;quot;http://www.wikispaces.com/site/embedthumbnail/file/81_9th_chords.pdf?h=52&amp;amp;w=320&amp;quot; class=&amp;quot;WikiFile&amp;quot; id=&amp;quot;wikitext@@file@@81_9th_chords.pdf&amp;quot; title=&amp;quot;File: 81_9th_chords.pdf&amp;quot; width=&amp;quot;320&amp;quot; height=&amp;quot;52&amp;quot; /&amp;gt; --&gt;&lt;div class="objectEmbed"&gt;&lt;a href="/file/view/81_9th_chords.pdf/132854933/81_9th_chords.pdf" onclick="ws.common.trackFileLink('/file/view/81_9th_chords.pdf/132854933/81_9th_chords.pdf');"&gt;&lt;img src="http://c1.wikicdn.com/i/mime/32/application/pdf.png" height="32" width="32" alt="81_9th_chords.pdf" /&gt;&lt;/a&gt;&lt;div&gt;&lt;a href="/file/view/81_9th_chords.pdf/132854933/81_9th_chords.pdf" onclick="ws.common.trackFileLink('/file/view/81_9th_chords.pdf/132854933/81_9th_chords.pdf');" class="filename" title="81_9th_chords.pdf"&gt;81_9th_chords.pdf&lt;/a&gt;&lt;br /&gt;&lt;ul&gt;&lt;li&gt;&lt;a href="/file/detail/81_9th_chords.pdf"&gt;Details&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href="/file/view/81_9th_chords.pdf/132854933/81_9th_chords.pdf"&gt;Download&lt;/a&gt;&lt;/li&gt;&lt;li style="color: #666"&gt;100 KB&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/div&gt;&lt;!-- ws:end:WikiTextFileRule:0 --&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>

Revision as of 00:00, 17 July 2018

Eighty-one 9th chords (2006) by Jacob Barton

for two pianos tuned to 17edo

1st program note:

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 note:

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.

Recording here:

http://www.archive.org/download/seventeenTPP_02/81_ninth_chords.mp3

Score here:

81_9th_chords.pdf

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