Nick Vuci
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Hey, sorry for the last minute entry. Been busy here, couldn't even finish the last movement but at least these two might bring some joy to you. Hope you enjoy and good luck on you master's!
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As someone who loves music in non conventional scales, I really liked this. Very nice to listen to.
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The comments from Tokkemon and U238 put a big smile on my face.
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I understand what you are saying (that set theory can be applied to virtually any musical system), but what I meant is that there is no real "common practice" within the world of microtonal composers as we have in standard western music. Especially when you get to systems that include features such as non-octave repeating scales and prime-based limits. Thank you for listening and enjoying! Your reviews are always very appreciated.
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@Luis Hernández Thanks for the quick response! Unfortunately, I'm not quite sure what you mean by saying that a microtonal piece is "something different." Microtonalism simply means using intervals smaller than the standard semitone of 100 cents. In the second piece I did use the keyboard to create chords, and I switched back and forth between the keyboard and the guitar for playing the chords against the melody, and when the keyboard played chords or the melody I used microtonal inflections to emphasize existing chromatic instances. Here I simply use the 32-note scale in a type of "perpetual motion" melody against the guitar and bass playing chords, as you mentioned, yet it is still a "microtonal" melody and uses all 32-notes. For reference, I am using the 32-note scale of the harmonic series, so all of the chord relations that exist in standard western music also exist in this system. There are also many more, but all the standard ones do exist. There is, however, no standard theory of harmony for any microtonal system (harmonic systems that include non-standard chords are often called "xenharmonic"). Regardless, thank you for listening and leaving feedback! It is much appreciated.
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Thank you all for your comments. @Monarcheon I don't know if making the intervals augmented would help, but I'll certainly play around with the idea. I wasn't trying to create much suspense, but rather a relaxing sound. Thank you once again for your very valuable feedback. @Luis Hernández I'm glad you enjoyed it! Yes the guitar and bass are not microtonal, only the keyboard is a retuned midi controller. If they were all tuned to a 32-note scale it would still have the dissonances mentioned as that's how it was written. In fact it would likely sound more "dissonant" because the intervals would be "just" and most people used to 12-TET consider just intervals to sound a bit off (when in fact it's the 12-TET approximations that are detuned). I hope you both check out the third (final) movement of this trio, I'm posting it now. :)
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IMO you can't do iconic "desert" music without the "Oud" sound (basically an arabic lute that's also played in parts of africa). On that note, if possible try to use quarter tones and the traditional maqam system. You'll need to use 24-TET to do this, and it isn't as hard to implement as other alternative tuning systems.
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Thanks for the feedback, Monarcheon! I'll admit that this was more or an experiment on using the motion of traditionally strong harmonies to carry otherwise dissonant microtonal textures along. Using a 32-tone scale with 1 note in exact equivelancy with the standard 12-tet system is definitely not intended to create something traditionally "tonal," but I will take your notes into consideration for future revisions to this piece.
