(http://clones.soonlabel.com/tis/eigenfaces.png)
An improvisation as advertised in a hall:
http://clones.soonlabel.com/mp3/phillip-22-percussion.mp3
Piano alone:
http://clones.soonlabel.com/mp3/phillip-22.mp3
Wow! An outstanding piano piece. I really love it but I think it ends a bit too abrupt.
However, great work uncloned....
Thanks for the listen and comment Mr Eagle!
You may be interested in knowing that the performance used the following 22 note per octave tuning - the ratios indicate the distance from the starting note, say C. 5/4 is a "Just" major 3rd for instance.
! phillips_22.scl
!
All-key 19-limit JI scale (2002), TL 21-10-2002
22
!
135/128
35/32
9/8
76545/65536
75/64
5/4
81/64
21/16
10935/8192
45/32
3/2
399/256
25/16
51/32
105/64
27/16
7/4
225/128
15/8
243/128
63/32
2/1
Umm....thank you for the informations Mr uncloned, but -as I wrote in another threat- I never had any musical education so I really don't know what you are talking about... :oops:
I'm very sorry about that.
please don't have the impression that this is something taught in music theory class.... far from it.
microtonal music (which this is an example) is much more obscure unless you take advanced level specific classes at some universities, and still even there, it is an arcane art far from the mainstream.
But it holds much promise.
Other cultures (african, arabic, indian) do use tunings other than our western 12 notes per octave equal steps with great success. So in that sense the West is just catching up.
Quote from: "uncloned"Other cultures (african, arabic, indian) do use tunings other than our western 12 notes per octave equal steps with great success.
Ahh, yes. I already heard that "their" scale differs from "ours". But I didn't know in which way.
I am not suggesting you study this site or anything.
But it might be worth a quick look to show you the different types of tunings that are out there including the ones from other cultures:
http://xenharmonic.wikispaces.com/MicrotonalTheory
Fortunatly I found a similar text at the german wikipedia. That makes it easier for me to understand... :D
But I'm too tired right now. Today's working was really exhausting. I'll read the text tomorrow.
I'm beginning to like this 22 tuning ..!
if you use samples you should be able to use it in OpenMPT.
Its a bit of trouble - and you'd use almost all the letters of the english alphabet - but it is interesting to work with!
And how could I achieve that ?
Sam,
Download this archive
http://clones.soonlabel.com/public/sam/openmpt.rar
This has a copy of openmpt and an example module in 22 TET (a bit different then the scale here but I'll get you that in a bit) plus a couple screen shots and a few tunings. The tunings are changed in the instrument view.
if you download scala you can make your own scales easily or convert any of the thousands that are available.
this is how to convert to open MPT format (.tun)
http://www.xs4all.nl/~huygensf/scala/Scala_TUN_Tutorial.pdf
The file for the tuning used in this piano piece is in this archive
http://clones.soonlabel.com/public/sam/lucy4cam5000.rar
it is called phillip2_22.tun -> pop it into the openmpt tunings folder.
And here is an explanation (sort of) of what all those fractions mean musically. The numbers just before the text are cents - which are 1/100 of a semitone. In normal 12 TET tuning it goes, C=0 C# = 100 cents, D = 200 cents above C, etc.
0: 1/1 0.000 unison, perfect prime
1: 135/128 92.179 major chroma, major limma
2: 35/32 155.140 septimal neutral second
3: 9/8 203.910 major whole tone
4: 76545/65536 268.825
5: 75/64 274.582 classic augmented second
6: 5/4 386.314 major third
7: 81/64 407.820 Pythagorean major third
8: 21/16 470.781 narrow fourth
9: 10935/8192 499.999 fourth + schisma, 5-limit approximation to ET fourth
10: 45/32 590.224 diatonic tritone
11: 3/2 701.955 perfect fifth
12: 399/256 768.294
13: 25/16 772.627 classic augmented fifth
14: 51/32 806.910
15: 105/64 857.095 septimal neutral sixth
16: 27/16 905.865 Pythagorean major sixth
17: 7/4 968.826 harmonic seventh
18: 225/128 976.537 augmented sixth
19: 15/8 1088.269 classic major seventh
20: 243/128 1109.775 Pythagorean major seventh
21: 63/32 1172.736 octave - septimal comma
22: 2/1 1200.000 octave
Thanks Clones, I will study this. Nice list.
I find the list interesting - but of course its all about the ears :-)
Note that one of the bizarre aspects of this particular tuning is that some notes are really close to each other.
maybe that's why I like it. Almost like the 'blue' notes in a jazz piece.
very possible that is why.
I just like something different. I get bored easy :-)
But I got to start working seriously again I've had months of improvisations now.
This is quite pleasant, Clones. Looking through the tuning, I think it's probably because the tuning you've used is based primarily on tunings that are used more generally: they're not just 'alternate' tunings. The fact that, for example, you have two different thirds means that the tuning sounds interesting, but still harmonious.
Nice work.
Hi Barry,
Thanks for the listen, comment, and liking it.
The JI quoted in the scale stands for Just Intonation. What this indicates is that "pure" intervals are used (like 5/4 for the major third) instead of the compromise of our "normal" tuning 12 EDO (equal divisions of the octave).
This guy has an interesting tuning system as well
http://www.lucytune.com/
he modifies 12 edo by using the value Pi and gets very pure thirds. His system is a type "meantone" tuning which was a popular system prior to 12 edo.
Here is an example of a composition in Lucy tuning
http://forum.openmpt.org/index.php?topic=2914.0