Month: February 2007

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Variable variability.

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Only a few minutes to work today. Insert the bridge into the theme.

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Make a bridge from a circle of fifths. How simple. Since the introduction is in C major, go up a 5:4 (17 steps in 53) to E minor, then down a 3:2 (31 steps) to A, down a 3:2 to D, down a 3:2 to G, then up a 77:76 (one step) to G+, then down a 3:2 (31 steps) back to C major. 77:76 is the ratio of a single step in 53 tone equal temperament (or Equal Divisions of the Octave, EDO). If the 3:2 were really a 3:2 instead of 31 steps of 53 EDO, and if the 5:4 were really a 5:4 instead of 17 steps of the 53 EDO, then the comma would be 81:80, instead of 77:76. But it’s close enough for audio work.

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I added a finger piano playing arpeggio based on descending triads. 6:5:4 and 11:9:7 in the key of C.

The percussion is more of that sitka spruce board with the contact microphone and an assortment of combs, rocks, screws, and other devices glued to the surface. One makes a kind of “cookie” sound from a metal comb with different length prongs.

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Just a small change to the flute melody. More in the future. As always.

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And today we have a bit more control over the percussion. Still in C major, but I’ve also put some work into making the modulation easier.

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The mix deepens.

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Considering the ability to modulate, why not refer to all chords as relative steps:

Here’s how major triads in their three inversions can be written. First you see the inversions of the 4:5:6 overtones, then the 9:11:14 overtone triads:

.maj3-u-a135 t+0 t+17 t+14
.maj3-u-a351 o-1t+17 t+14 t+22
.maj3-u-a513 o-1t+31 t+22 t+17
@
.maj3-u-b247 t+9 t+16 t+18 t+19
.maj3-u-b472 o-1t+25 t+18 t+19 t+16
.maj3-u-b724 o-1t+43 t+19 t+16 t+18
@

Then when you want to call a chord, just start it with the key like this:

t0&maj3-u-a3*.

This translates to Csound code for three notes at scales steps 17, 17+14=31, and 31+22 = 53, which translates to 0, the tonic.

More insect life as percussion from the Dry Spring.

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These are samples from an instrument I made in 1975 or so. It’s a piece of 1/4 inch Sitka Spruce, with a contact microphone attached. I’ve glued assorted noise makers to the surface of the wood. Each is rubbed with rosined fingers, struck, or scraped with small tools. I call it a dry spring.

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Consider it a requirement that I write at least one piece in 53 tone equal before I turn 54 in March. Equal sure is easier for modulation. This one stays in the Partch tonality diamond, but it could easily just wander out at a moment’s notice.