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Showing results for tags 'microtonal'.
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Just something I felt today. Had the start floating around in my mind when I woke up, but the rest (especially the microtonality, my first microtonal harmony ever :D) came as part of the process. Pretty happy with this. If someone wants to check if the intervals are playable, please do. I also have no idea harmonically what is going on, it is all just based on what sounded right to me. Wordlike is a thing I started doing some years ago. Basically inventing nonsense words and connecting them to something abstract (or a specific meaning). I like to compose and then examine how I feel phonologically. Ano'ton, awash.n93.mp3 n93.pdf
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Here is a quick semi-improvised piece I made! 🔷--...-- - waltz for chapter 11 of a movie (or business).mp3 It is based on 2 basic ideas really, a Eb6/9 (or Eb6b9) to Db6/9 movement (with the occasional Dm/F) and a morse code idea that evolves into what resembles a 11/8 pattern (--...--/2+2+3+2+2). The idea in the very start is a Dbm to Eb#9 (omit5, sometimes with a 6 too; basically a reduced Hendrix). The tuning is Drop-D with the E-string tuned up by around 20-25 cents. This is a technique I like to use to make things sound out of place - or to give them that slight microtonal colour. My question would be building on this. Like many of my guitar compositions this was originally an impro session, then I recorded my attempts to redo that impro session. TWO CENTRAL QUESTIONS. *How much detail is too much?* (in notation) -> As this composition is highly impro-based and there are a lot of small improvisatory moments (i.e. the percussive sounds which have a specific place in the form but not specific rhythms or techniques) and I'm wondering how much of them has to be notated. Also there are moments where I purposefully "throttle" the rhythm, like towards the end, where the rhythm fragments and by effect the pace slows down. What's the best way to both visually AND verbally (an)notate this *fragmentation*? I want to have both visual and verbal, reinforcing one another. *What instrumentation do you see fit for this?* -> I want to add other instruments - or effects too maybe - to this piece once I notate it. My mind first wonders towards R. Dyens' ideas for Libra Sonatine if I recall correctly: Originally for guitar, arranged for gtr, contrabass, fiddle and percussions. Ensemble Dre's rendition (spotify) . But I am wondering what to do. Often these first feel so... intimate for the guitar to me, but I still yearn for other instruments to join. This is a long standing block for me. (I also want to know what you guys think of my, self-claimed to be hilarious title) Love from Finland, Pyry
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I was thinking about the ice that's formed here on the ocean. How in foggy conditions it looks like it never ends. I'd like to go sit at the beach of my cottage with an omni mic and just stare into the fog and play this... This is also a slight experimentation on both microtonal tunings (aesthetic) and in player's freedom. You'll note that my recording sounds a bit different to this (and was actually played on steel string guitar), but that's the point :D. I often feel that the player is not given enough free reign to interpret what they are playing - not enough free reign to bring themself to the stage. So this is a slight complaint to that I suppose. All thoughts, feelings, colours, landscapes, gibberish, textur 21st of jan.mp3 es that come to mind please tell me.
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hello everyone, I am back, this is my new piece, hope you like it! the video: 【微分音钢琴】作品5之4 无标题_哔哩哔哩_bilibili Op5 Nr4.mp3
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hello everyone, I am back, this is the first microtonal piano piece I composed, hope you like it!
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Our music notation system is built around the diatonic scale, but could we build it around a different scale, like the pentatonic scale? And what would that change? That's what I dive into in this video, if you'd like to check it out: The tl;dr here is that, when you change to a pentatonic notation system, the sharp/flat in that system ends up being the minor second from our diatonic system, and that leads to what I think is an inspiring new perspective for playing and composing music. In addition to providing a new perspective, it also makes a practical and audible difference when playing music in tunings where are enharmonic equivalents are no longer equivalent, since alterations of the pentatonic scale by the pentatonic sharp/flat (the diatonic minor second) will actually sound different than alterations of the scale by the diatonic sharp/flat (the diatonic augmented unison). In the video, there's a short boogie-woogie style composition that I wrote in 19-tone equal temperament with this pentatonic system in mind. What do you think about the results, and the idea of a pentatonic notation system itself? Would you try to write something using this notation system if a notation program made it available to you? I'd love to hear any thoughts, and please feel free to ask any questions about the video, and the initial theory I breeze through. (I had to gloss over that stuff to get to the meat of the video, and I do realize it ends up being a bit of a bombardment in the beginning there.)
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A buddy of mine (Gareth Hearne) wrote this microtonal Sanctus in what's called "porcupine temperament", and I finally got around to making a recording of it: Similarly to how western music has a circle of fifths, Porcupine Temperament has a circle of small major seconds (approximately 160 cents wide). It approximates many intervals of the harmonic series as well or better than standard western tuning, especially the 11th harmonic. (Kind of like how barbershop singers sing their minor sevenths or augmented sixths flat to be in tune with the 7th note in the harmonic series, porcupine has a "fourth"-ish thing that lines up with the 11th note in the harmonic series and it, I think, blends very nicely!) If you have any questions on the theory I'd be happy to talk about it, thanks for listening =)
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