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Bridgeport 2 (Super Particular Tuning)

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  • christopherv
    Note: – this is best listened to at a volume as if you were close up front and center to a fairly powerful orchestra. The realization uses Sonar 8.5 and
    Message 1 of 6 , Apr 1 7:03 AM
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      Note: – this is best listened to at a volume as if you were close up front and center to a fairly powerful orchestra.

      The realization uses Sonar 8.5 and Garritan Personal Orchestra 4 (Aria player) and relies heavily on Sonar's sequencing interface. The compositional method was the creation of a number of sequenced motives which were combined as needed with overlays of more traditionally composed portions.

      download

      http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3

      details and online streaming

      http://chrisvaisvil.com/?p=125

      Note to Cameron and Mike - I quoted both of you in my blog post - if not acceptable give me a shout and I'll take it down.

      Chris
    • caleb morgan
      Yeah, mon. It even has a lot of oomph at low volume--don t worry. Sounds great. ... Yeah, mon. It even has a lot of oomph at low volume--don t worry. Sounds
      Message 2 of 6 , Apr 1 7:26 AM
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        Yeah, mon.  It even has a lot of oomph at low volume--don't worry.

        Sounds great.



        On Apr 1, 2010, at 10:03 AM, christopherv wrote:

         

        Note: – this is best listened to at a volume as if you were close up front and center to a fairly powerful orchestra.

        The realization uses Sonar 8.5 and Garritan Personal Orchestra 4 (Aria player) and relies heavily on Sonar's sequencing interface. The compositional method was the creation of a number of sequenced motives which were combined as needed with overlays of more traditionally composed portions.

        download

        http://micro. soonlabel. com/super- particular/ sequenced- classical- m-c-tuning3bridg eport2.mp3

        details and online streaming

        http://chrisvaisvil .com/?p=125

        Note to Cameron and Mike - I quoted both of you in my blog post - if not acceptable give me a shout and I'll take it down.

        Chris


      • Chris Vaisvil
        Thank you for the listen and comment Caleb! I m glad you like it! Chris ... Thank you for the listen and comment Caleb! I m glad you like it! Chris On Thu, Apr
        Message 3 of 6 , Apr 1 7:40 AM
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          Thank you for the listen and comment Caleb! I'm glad you like it!

          Chris

          On Thu, Apr 1, 2010 at 10:26 AM, caleb morgan <calebmrgn@...> wrote:
           

          Yeah, mon.  It even has a lot of oomph at low volume--don't worry.


          Sounds great.




          On Apr 1, 2010, at 10:03 AM, christopherv wrote:

           

          Note: – this is best listened to at a volume as if you were close up front and center to a fairly powerful orchestra.

          The realization uses Sonar 8.5 and Garritan Personal Orchestra 4 (Aria player) and relies heavily on Sonar's sequencing interface. The compositional method was the creation of a number of sequenced motives which were combined as needed with overlays of more traditionally composed portions.

          download

          http://micro.soonlabel.com/super-particular/sequenced-classical-m-c-tuning3bridgeport2.mp3

          details and online streaming

          http://chrisvaisvil.com/?p=125

          Note to Cameron and Mike - I quoted both of you in my blog post - if not acceptable give me a shout and I'll take it down.

          Chris



        • Michael
          Chris, Man, this is a trip. It sounds very tense and as you said not pretty but oddly confident at the same time: certainly not the typical confused
          Message 4 of 6 , Apr 1 8:09 AM
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            Chris,

            Man, this is a trip.
               It sounds very tense and as you said not "pretty" but oddly confident at the same time: certainly not the typical "confused dissonance".  It's very jazzy and rhythmic and almost like some sort of horror-movie-ish sub-genre of deep-house.

                It seems obvious you are using the entire tuning as if it were a scale...and thus taking parts from different keys (particularly those close notes from different keys that are about 25/24 to 26/25 apart) and meshing them together.

              Not exactly my style, but it definitely packs a punch.  I still wonder if you are going to release that other piece you showed me, which sounds a lot more middle-of-the-road so far as breadth of tone vs. consonance.
          • Chris Vaisvil
            Hi Mike, Thanks for the listen and comment - and especially the tuning. The other piece - would that be the first WIP version of this piece? Otherwise I m not
            Message 5 of 6 , Apr 1 8:28 AM
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              Hi Mike,

              Thanks for the listen and comment - and especially the tuning.

              The other piece - would that be the first WIP version of this piece?

              Otherwise I'm not sure of which piece. I still plan on using the tuning with pianoteq and controller.

              I need to do my taxes - and compose a bass guitar part for a friend, first.

              On Thu, Apr 1, 2010 at 11:09 AM, Michael <djtrancendance@...> wrote:
               

              Chris,

              Man, this is a trip.
                 It sounds very tense and as you said not "pretty" but oddly confident at the same time: certainly not the typical "confused dissonance".  It's very jazzy and rhythmic and almost like some sort of horror-movie-ish sub-genre of deep-house.

                  It seems obvious you are using the entire tuning as if it were a scale...and thus taking parts from different keys (particularly those close notes from different keys that are about 25/24 to 26/25 apart) and meshing them together.

                Not exactly my style, but it definitely packs a punch.  I still wonder if you are going to release that other piece you showed me, which sounds a lot more middle-of-the-road so far as breadth of tone vs. consonance.

            • Michael
              Chris Thanks for the listen and comment - and especially the tuning. Glad you enjoyed it! To be honest I still have a lot of questions about how to make a
              Message 6 of 6 , Apr 1 9:13 AM
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                Chris>"Thanks for the listen and comment - and especially the tuning."
                    Glad you enjoyed it!  To be honest I still have a lot of questions about how to make a "theory" for the 12-tone version of the tuning...the original 7-tone scale subset is much easier as it's virtually impossible to make a sour chord.

                   If any of you have any ideas (any of you) I'd be interested to hear them.  The real problem I see in expanding the 7-tone scale to 12....is this makes the minimum ratio between notes duck under the standard 12TET half-step AKA 15/14 so there are critical band consonance issues due to this closeness.
                ---Then again if you want dissonance there's your gateway...go for those few close-ratio notes!---

                   I'm also pretty sure there are several 7-tone scales within the 12-tone tuning, the problem is you can't just slide the intervals of the root 7-tone scale ALA 12TET to get to them (typical non-TET tuning issue).
                   
                >"The
                other piece - would that be the first WIP version of this piece?"
                     I believe so actually...the tensity this time around got bumped way up.  I can still recognize certain melodies/parts, though.

                -Michael
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