Speaking of Wendy Carlos (well, Baroqueirion was in his thread), I have recently uploaded a new microtonal composition to http://www.myspace.com/boscotung . The song is called called "uoop". It was done with Csound/blue, not Orion, but it uses a tuning of my own design that may be of interest to other microtonalists.
Both the uoop tuning and the dozenky tuning (demonstrated in the song "Riucheybad") have 12 notes per octave and work just fine in Orion. If anyone wants a copy of the tunings in scala or .tun format to play with please let me know.
uoop - new ambient microtonal compositionModerators: Christophe, Mark
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uoop - new ambient microtonal compositionthis tuning is realy strange.
Rarely listen to something like that before. btw the others tracks are weird to. Thats nice to try something else than the main stream. are u a classic musician ? did you learnt some contemporain technics ? Last edited by Eklectro on Tue Mar 31, 2009 1:50 am, edited 1 time in total.
Orion 8, Live 8Le, Cubase 4 LE, Cantana, APC40, UC16, Fostex PM1MKII, Q9550, 4G0, 1,5T, 22"+15"
http://soundcloud.com/eklectro/i-like-xylo-29-03-2011
uoop - new ambient microtonal compositionWhat's the point? What do you achieve through using your microtonal scale that you couldn't anyway? It seems like it is trying way too hard for no benefit, like using it because you can, rather than because it does anything for the music.
It's kind of like the fact that we've been criticised because all our songs are in A# minor. It would be trivial to transpose a few songs to other keys but what would be the point? It just happens to be the way we work and changing keys from one song to the next doesn't really improve the listener's experience, so why bother? I'm not trying to suggest that it's pointless, just trying to understand why you [or anyone] would make the effort. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
novakill.com
uoop - new ambient microtonal compositionIf I understood clearly you Bones, you are a bit rude.
He produced more work to create some (close to) rarely heard harmony. It is not my taste but I appreciate that I was discovering something else. Maybe there are people who will find this totally relevant. Orion 8, Live 8Le, Cubase 4 LE, Cantana, APC40, UC16, Fostex PM1MKII, Q9550, 4G0, 1,5T, 22"+15"
http://soundcloud.com/eklectro/i-like-xylo-29-03-2011
uoop - new ambient microtonal compositionbones :
What do I achieve using my microtonal scale that I could not anyway? Uh.... different harmonies. That means chords and melodies that CANNOT be done in other tunings. There are numerous excellent websites that explain these concepts in detail if you are interested. There are possibly thousands of microtonal composers worldwide, including Wendy Carlos, one of the pioneers in the field. Check out Harry Partch, one of the first modern microtonalists (Pythagoras was probably the 1st microtonalist we know of). Search for the terms "microtonal music" and "just intonation" and you will get plenty of hits, I am hardly the only person doing this kind of thing. One reason some people do microtonalism is to reproduce ethnic music, for example traditional bagpipe tunings, or Indian raga music, or Balinese bell music. None of these can be done with 12TET (standard tuning), and there are dozens of other examples, including European traditional music predating the introduction of 12TET. Though you apparently have not noticed, the MAJORITY of the population of the world has traditional music that requires microtonal technology to reproduce electronically. Others, like myself, use microtonality to invent our own tunings or use other modern tunings . Wendy Carlos has invented many of them. To me the point is that 12TET is just one tuning out of an infinite number of possible tunings. Why stick solely with a tuning that got adopted because of the limitations of European instrument building technology 500 years ago? But considering I am lecturing someone who writes all his songs in one diatonic key, I am sure you won't understand that point of view. Learn microtonalism and find out WHY those people who criticize you for writing all in one key are correct. Maybe eventually you will even be able to hear what Eklectro can hear. You won't get the uoop chords in 12TET, no matter what key you transpose to. Eklectro : I am not classically trained, mostly self taught with a few years of jazz lessons, though I do learn and play classical pieces sometimes. I am not sure what "comtemporain technics" means. Generally I find most musicians (including classical) completely unaware of the existence or concept of microtonalism. BTW, bones is always rude in case you have not noticed. Ever since I called him "a rabid message board pitbull that should be put down" he has taken a strange dislike to me. Go figure. Last edited by borion on Tue Mar 31, 2009 9:05 pm, edited 1 time in total.
uoop - new ambient microtonal compositionSo it's purely to be different? If that's the case, it doesn't really sound any different to me. It makes sense for doing ethnic music and stuff like that, which is what I always figured people used it for, so I was a bit surprised to hear something being done just because. To my ears it didn't seem to benefit the music in any way, hence the question.
Because I could write songs that way for several lifetimes without repeating myself. Like I said, we tend to only use one key and there is plenty of scope within that. Again, I ask because I don't see any limits to standard tunings, beyond the ethnic thing, quite the opposite. To me it seems like saying "I can only write a good short story if I use 256 page exercise books, 128 page books just don't work". i.e. it's just more of the same but until I fill up the first book, I don't see why I would need a second one.
Which is why I asked the question. To me it just sounds slightly wrong, like picking one wrong note in a chord or something. Beyond that, it doesn't sound any different to anything else to me. If had wanted to be rude, I'd have pointed out that the first thing it reminded me of was my own very first forays into music, circa 1981, which these days just sound pathetic to my ears now [but a lot like that piece]. About half-way through listening, I had a picture of that very first cassette I recorded stuff onto in my head, and that image pops straight back into my head now, just talking about the piece. But that would have been rude, which is why I didn't say it. Dell G7 (Hexa-Core i7)|Cubase Pro 10||Analog Keys|Ultranova|MicroMonsta|Uno|Skulpt|Craft Synth 2.0|
novakill.com
uoop - new ambient microtonal compositionI do not mean to suggest that writing music all in one key is in any way invalid. There are STILL infinite compositional possibilities. Hindu raga music is all in one key (albeit with 22 notes per octave), as are many traditional music forms. Slendro is only a pentatonic (5 note) scale and comprises is another well-known traditional tuning. If you are satisfied with composing music in standard tuning that never changes key that is your perogative, just as it is your perogative to criticize my work.
In my experience very few musicians (forget about non-musicians for this) can even tell when a non-standard tuning is being used except when it is glaringly obvious, such as with a scale like 100TET. When that non-standard scale has no learned cultural reference (such as for raga music for example) then the reaction is normally restricted to "weird" or "wrong" or "alien-sounding". uoop is intended primarily as a preliminary exploration of harmonic possibilities of the tuning and was produced very quickly algorithmically. Thank you for taking the time to listen and express your opinion. For your probable complete lack of enjoyment, here is a link to a 100TET piece by John Fitch. http://www.csounds.com/node/95 . He says it took him 15 months to write. And if you think that is crazy, you should check out the Harry Partch museum online.
uoop - new ambient microtonal compositionI can agree with Eklectro. Your songs do sound weird. Like severely detuned synths or something.
OTOH, I can agree with Bones as well. It doesn't add interesting elements in the song. My best guess would be that it will just leave listeners in "what was that" state. I can't say it's my cup of tea, really. Like this uoop song. It's a 5 minutes of one and the same sound. OK, I guess personal tastes play some roll here, and I'm not that music savvy, meaning I didn't listen to all the music there is, just those I like. I have expanded my views, but could never digest ambiental where the main role has only one sound (yes, like uoop). But on the bright side, I can easily imagine some of these in a motion picture or something. SoundCloud ::: Facebook
uoop - new ambient microtonal compositionMotion picture soundtracks is the main place you will hear microtonal music currently unless you search it out.
Certainly uoop is rather dull sonically, it is one of the first songs I did when I learned Csound and uses nothing but sine wave oscillators. My goal was to present various consonances and dissonances available in the tuning in as pure a format as possible. It is more of a presentation of a tuning than a song. Eventually I hope to get around to revisiting the tuning for an attempt at something more coherent and melodic. I thought it was worth presenting because I believe the tuning has good potential. Nonetheless your and bones criticism of uoop are quite justified, it IS a beginner song, that is why it is called uoop, which is "noob" spelled upside down. Did any of you listen to the John Fitch piece? I would be interested to hear your opinions. Last edited by borion on Thu Apr 02, 2009 10:29 am, edited 1 time in total.
uoop - new ambient microtonal compositionA# minor?
I can make the scale work if it's written Bb minor, but if you write it A# you go directly from A# to C.
uoop - new ambient microtonal compositionBeauty always lies in the eye of the beholder...
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