microtone

  • tuner:you're sharp by a microtone
  • me:*pulls out tuning slide slightly*
  • me:*rips out tuning slide, instrument falls apart, knocks stand over, band room sets on fire, an atomic bomb is detonated, hell is erupting from the ground, it is the apocalypse*
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Here’s my new (microtaonal) music video. Music and film (and desperation…)by Hidekazu Wakabayashi. I hope you enjoy and analyze(!) this simple one hand iceface tuned piano melody and let me find the….  
HANKS for you watching and listening! 
(its music score is on tumblr now http://mewomihi.tumblr.com/post/104589393407/my-new-score-christmas-mass-for-simple-one-hand)

新しい映像をyoutubeにアップしました。片手で弾くIceface Tuned Piano。経過音に四分音たっぷりの、今時珍しいであろうメロディのみの楽曲ですがよかったら是非聴いてみてください。楽譜もtumblrに用意してあります。よりシンプルなものを提示する方向にしようと思ったものの、、楽譜と実演交えて映像作るのはやはりか〜なり大変な作業だったで、こんなものはもう今年は最後にしようと思います。
映像、いつも見たり聴いたりしてくださった方ありがとうございます。今年一年大変お世話になりました!

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World’s first performance on the Fluid Piano & Fluid Dulcimer. Not sure what to make of this ‘piano' 

Watch on shiroschwarz.tumblr.com

Sometimes I think there is no interest in microtonal music. It is true I love Bach’s work, but I don’t feel the necessity to question it.

However I do feel like trying out something new. That motivated me to create microtonal tunings. I have composed some pieces but today I ran into something brilliant.

This is “Microtonal Steam Machine” by Shleed, also known as Ashley Dolan from Dundalk, Ireland. Thank God it is not musique concrète!

If you feel like composing microtonal music with my tunings drop by:

http://www.rafaelmarfil.com/

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Microtonal Guitar. Need I say more?

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in his stream yesterday, shnabubula was trying to tell everybody that “nothing is impossible to play on piano (unless the song has no notes)”

so I joked, “well I have this composition in 20TET tuning..”

and he actually replied: “well yeah I’d just go with the closest approximation in 12TET”

this made me wonder: would the songs even be recognizable then? how would it sound?

so I took a few non-12TET songs of mine and basically autotuned them into chromatic 12TET. the results are…pretty neat!

much more playful than their 9, 16, and 20 tempered counterparts (respectively)

Black Truffle is honored to present a major collection of archival recordings by seminal minimalist composer, performer, instrument builder and visual artist Arnold Dreyblatt. Following on from the archival compilation Choice (Choose Records, 2013), Second Selection presents eleven pieces selected by Oren Ambarchi from Dreyblatt’s extensive archive of previously unreleased recordings. Recorded in beautifully varying fidelity between 1978 and 1989, the pieces range from solo works to documents of various iterations of Dreyblatt’s long running Orchestra of Excited Strings.

The ensemble pieces here possess the singular, hypnotic quality of Dreyblatt’s vintage work, underpinning the shimmering overtones of his self-devised twenty note microtonal scale with primordial, thudding rhythms that undergo surprising but economical shifts in group dynamics and sonic density. Like the court music of some imaginary ancient civilization, this music unfolds unhurriedly, relinquishing traditional melodic and harmonic movement in favor of a single-minded search for the world of sound inherent in a single string.

There is much to wonder over here for the Dreyblatt connoisseur, including variants of pieces found on classics such as Nodal Excitations and Propellers in Love. But Second Selection also unearths some elements of Dreyblatt’s work that have gone undocumented until now, including an incredible pair of solo pieces for modified electric guitar and electronics performed in Europe in 1988. The second of these, ‘Luftmenschen II’, has to be heard to be believed, consisting of 15 minutes of insistent and frenetic rhythmic irregularity sourced to multiple electric guitars run through a digital noise gate controlled by a recording of malfunctioning escalators.
Second Selection is presented as a high-spec gatefold double LP with archival liner notes including contemporaneous selections from Dreyblatt’s notebooks and an early conversation between Dreyblatt and Phil Niblock. This is both a gold mine for long-term fans and an ideal introduction for those still awaiting initiation into Dreyblatt’s rapturous science of the string. These are stunning examples of one of the most unique and fully realized sound-worlds of contemporary music; as Dreyblatt always recommends, they are best experienced at maximum volume!

http://www.blacktrufflerecords.com

the thing about western avant-garde that attracted me initially is that it dares to be weird in ways that a lot of other genres just _don’t_, it doesn’t care about commercial viability or conforming to traditional ideas of pleasantness. but after immersing myself in that cultural world for so long i’ve found that it also just doesn’t dare to be weird in certain _other_ ways because it has this notion of weirdness which is very much based on contrasting traditional western classical. so when white mavericks come across something that has been around for _ages_, like microtonal shit or unmetered music or octatonic scales they’re like OMG THIS IS SO NEW AND CRAZY IT’S GONNA BLOW MY WHITE FRIEND’S MINDS and they put it in their music and it’s so fucking predictable. it stops being innovative, when the same tropes start creeping in and being used in the same context (the ‘let’s add some foreign spice to my music to make it speshul’ context). and on another vein there’s the whole hyperintellectual modernist shit with lots of serialization and permutations of numbers and parameterizing everything in music and that can become very catchy, intellectually speaking. it’s easy to write about, so other composers can take those processes and make more music that sounds unoriginally similar.

anyway, i probably should’ve realized earlier that white composers are humans too and cultural exchange happens. the whole notion of weirdness is predicated on the past, and on the Other.

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I don’t know how he did it, but Tommy Jarrell got more notes out of this tune than most people think are in it. His approach was almost microtonal, and it makes for fascinating listening.

This is Tommy Jarrell with “Greasy String”.

I challenge anyone to vehemently dislike bollywood music

It’s just so cool? with the microtones? and the super precise dancing, and the dancers all look lie they’re having so much fun?? 

I love it

Dan Brunckhorst at Sound Gallery June 19

Dan Brunckhorst at Sound Gallery June 19

Subscribe for updates. We will post a link later this week, to buy tickets to Dan Brunckhorst’s performance on June 19th. Watch for it! “…an electronic language of microtonally tectonic shifting long tones. skittering plates of bell fields – bird scatter. the flow and motion of random intersections – cascading, spelunking indeterminacy. the insistently a-rhythmic implications of time slipping…

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Use of the prepared piano led the composer down a very distinct musical path. The first task in writing for the prepared piano is the selection and placement of the preparations, building a palette of pings, thumps, and drum-and gong-like noises, with hints of microtones lying between the cracks of the keyboard, often a single sustained pitch ringing on after an initial burst of noise. The creation of a piece thus begins with a choice of materials rather than a theme or motif (or even a twelve-tone row). Each prepared note takes on an autonomous character, like a chord or harmony complete in itself. Composition then becomes the act of ordering and combining these previously chosen sound-objects, rather than creating melodies and harmonies out of the available pitches.