Re: [tuning] NEW: Actual barbershop quartet recording in STRICT extended JI.
- Wow, Aaron! This sounds amazingly excellent. When I have some time
I'll definately be checking out your score.
Also, to be honest, I think the aliasing sounds kind of cool. I can
see this being a useful musical effect.
On 2/28/06, Aaron Wolf <backfromthesilo@...> wrote:
> Hi everyone. I was around a lot a couple years ago. I had a long
> thread asserting that barbershop harmony could exist in a pure
> extended JI with no tempering. I have since learned a lot, played a
> lot of tempered music in a band setting, and am back to barbershop
> While I do renounce my JI extremist fundamentalism, I stand by my
> statements about the flexibility and musical practicality of strict
> extended JI. The difference is I now appreciate and respect all
> tunings for what they are and do not care to insist that strict JI
> is "the way." But is certainly is A way.
> Announcing a recording I wish to share with the list. Visit this
> There I have posted a number of recordings designed to help my
> barbershop chorus learn a song "Bye Bye Blues." After getting a
> recording of an unrehearsed quartet attempting the song, I used
> modern pitch adjusting software and a lot of work analyzing the score
> considering every tuning issue, this is the result. Every single
> note is STRICT extended JI accurate to 1 cent, except for minor,
> intentionally left-in slides and extremely subtle vibrato (meaning I
> nearly squashed any recorded vibrato).
> This is very listeneable. But do keep in mind this is designed as an
> educational recording. I think that a quartet that learned from this
> as strictly as humanly possible, that then added more dynamics and
> rehearsed better vocal technique and expressiveness would then be
> wonderful and truly appropriate for mass consumption. This recording
> is not that.
> These recordings show that in this style with a good arrangement,
> there is NO concern for the sliminess of comma shift and drift. The
> melody line (Lead) even has a couple spots of exact note to note
> comma shift, but it is musically functional and expressive and
> subtle - almost beautiful and better than straight.
> The basic idea was to stick with prime7-limit extended JI. I had
> these priorities: when one part had a held or repeated note, but the
> overall harmony changed, I kept the one note the same and had the
> other parts tune to that. Whenever shifting away from tonic into a
> circle-of-fifths progression, I had the root shift to sharper
> pythagorean notes and everything tune accordingly.
> There were some tough decisions. I feel very good about all the end
> results. I used a septimal minor seventh chord with 7:4 and 7:6
> harmonies instead of a 5-limit m7 chord, because that fit better with
> the surrounding notes and harmonies, for example.
> Sometime, I could post more details, or if there are any questions,
> let me know. The notes that I posted list some of the spots. The
> score is also available to download and look at, unfortunately not my
> copy that has my analysis on it.
> I feel that this is proof that all that is needed to avoid
> the "sliminess" and weirdness of comma shift is appropriate and clear
> harmonic intent, just enough glide between pitches, and a good
> arrangement like this that puts the most distant harmonics in the
> harmony voices, keeping the bass and melody relatively consistent,
> and in this case focusing on pythagorean root motion, with almost
> entirely 9-limit harmonies.
> When I have more time, I'd love to share specifics about the chords
> used. For now, let me know what you think. Thanks everyone for the
> help in the past that got me where I'm at such that I could make this
> In Harmony,
> Aaron Wolf, director, Bachelors Of Harmony barbershop chorus
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> Aaron,Thanks so much for the kind words Yahya. Unfortunately, the DtS stuff was edited (not
> Awesome!!! :-)
> Also listened to a couple more DTs tracks - Borrowed Time and
> Breakthrough. Based on these three, you don't need me to wish
> you luck - you've got what it takes to make good (and probably
> commercial) music. I was wondering how you all got so _tight_.
> But I read that Drew, Jay and Phil have been together for four
> years as Amadeus before forming Dts in 2003, so that accounts
> for a lot of it.
> Checked out your page -
> - so you're the good looking one? ;-)
> BTW, nice quote!:
> "Information is not knowledge, knowledge is not wisdom,
> wisdom is not truth, truth is not beauty, beauty is not love,
> love is not music. Music is the best." Frank Zappa
> I wasn't here last time you were around. But welcome back!
> I'm looking forward to hearing MUCH more of your music.
the live stuff, though mind you), so we weren't actually THAT perfect in the studio. I have
dreams of having a band like this that can work in microtonal elements but keep the
accessibility that we had. DtS is no longer, and we are going our separate ways. While
there was conflict, we are on good terms. We all have different priorities. Drew, the
keyboard player is the driving force behind being commercial, and I'm glad to have learned
what I did from that focus, but it isn't my priority (although I do care to be accessible). I'm
working on developing new microtonal music, and I've got some LONG term projects that I
think everyone here will find exciting, but there unfortunately won't be any results for
quite some time. In the mean time, I hope to create more barbershop part tapes and on,
on, well, lots of ideas anyway. Thanks for the encouragement.