Same Old: Difference between revisions
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== Non-octave version == | |||
The lyrics are slightly modified in this version (changes in italics):<blockquote>Twelve tones, ''seventeen tones'', ''nineteen tones'' ''and even'' ''twenty-two'' | |||
''But for'' ''the octave'', the same old ''octave'', the same old ''octave'', the same old ''octave, the same old octave octave'' | |||
''Even as the octave'' may be universal and ''not'' even arbitrary (yeah, xenharmonic music) | |||
Could anyone ever escape the yearning for the deep structures implied by division of ''something other than the same old octave space, even into'' ''twelve'' ''equidistant intervals'' | |||
Let’s say ''a ninth'', or ''a ninth'', or ''a nineteenth'', but not ''the octave''!</blockquote> | |||
[[Category:Sevish tracks]] | [[Category:Sevish tracks]] | ||
[[Category:2017 tracks]] | [[Category:2017 tracks]] | ||
Revision as of 02:28, 20 September 2022
Same Old is a drum and bass track by Sevish that uses just intonation (harmonic series and subharmonic series) tunings. It was released on his album Harmony Hacker in 2017.
Audio
Tuning
The piece uses:
- the 8-16 harmonic series segment (9/8, 5/4, 11/8, 3/2, 13/8, 7/4, 15/8, 2/1);
- and the 10-5 subharmonic series segment (10/9, 5/4, 10/7, 5/3, 2/1).
Lyrics
Twelve tones, the same old twelve tones, the same old twelve tones, the same old twelve twelve twelve twelve
The twelve tones may be non-universal and even arbitrary (yeah, xenharmonic music)
Could anyone ever escape the yearning for the deep structures implied by division of the octave space into something other than the same old twelve tones
Let’s say thirteen equidistant intervals, or thirteen, or 313, but not twelve!
Re-Tuned version
Sevish released a version of this track retuned in 12edo on YouTube in 2021, and later the same year on his album Re-Tuned.
The lyrics were slightly modified in this version (changes in italics):
Twelve tones, the same old twelve tones, the same old twelve tones, the same old twelve twelve twelve twelve
The twelve tones may be universal and even arbitrary (yeah, twelve tone music)
Could anyone ever escape the yearning for the deep structures implied by these notes, the same old twelve tones, twelve!
Let’s say twelve equidistant intervals, or twelve, or twelve, but not 313!
Non-octave version
The lyrics are slightly modified in this version (changes in italics):
Twelve tones, seventeen tones, nineteen tones and even twenty-two
But for the octave, the same old octave, the same old octave, the same old octave, the same old octave octave
Even as the octave may be universal and not even arbitrary (yeah, xenharmonic music)
Could anyone ever escape the yearning for the deep structures implied by division of something other than the same old octave space, even into twelve equidistant intervals
Let’s say a ninth, or a ninth, or a nineteenth, but not the octave!