Microtonal Scaler - Microtonal 2

Microtonal 2

In this experiment I used the same ascending and descending scaler pattern in multiple related overtone scales.  In each 30-node scale, I used the upper partials to create the microtonality. 

In the R5 family, I used R5, R10, R20, R40, R80, and R120 in 75BPM and 150BPM, from their respective tempo family.  The root tempo of this family is whole-note = 18.75 (.3125Hz).

In a related branch from that group, I used R30 in 112.5BPM and 225BPM, its respective tempo family.  This family is derived by multiplying the above 18.75 x 3.

I also used R35 and R70, another branch from the R5 family in 131.25BPM, its tempo family.  This family is derived by multiplying the above 18.75 x 7.

I hoped to create a ‘whirring’ of scales against each other, all related, yet in their own distinct families, like branches off the trunk of a tree.

Polyrhythms and polytonalities are created by the scaler interactions.

(For more information, please see my article Integrated Frequency)

Integrated Frequency 1 - Microtonal 1

Microtonal Melody - Microtonal 1 

This experiment was designed to showcase microtonality as ornamentation.  In traditional performance, we use vibrato, portamento/shifting, and even intonation differences to shape a diatonic or chromatic line.  These are all uses of microtonality in our traditional Western tradition.

I wanted to take that concept one step further, using the upper partials of the microtonal scale, R20 in ornamentation and melody.

Underneath the melody, using harmonies derived from the central nodes of the R20 scale, I created a progression to accompany the melody.

Aesthetically, I attempted to give some ‘personality’ to the melody by manipulating the attack time of the synth’s ADSR remotely.  The melody declares, ‘I’m weird, but I have something important I want to say.’

I also, with a controller, manipulated the first partial of the additive synth I built, to create vibrato (LFO) in the voice, for the accompanying harmony part. 

(For more information, see my article Integrated Frequency)

Integrated Frequency 1 - Diatonic, Chromatic, Mictrotonal, Serial

Diatonic, Chromatic, Microtonal Serial

This experiment deals with the same 10-note pattern used in the Chromatic/Serial example above, in three sections of the overtone scale: 1) the lowest ten nodes [diatonic/harmonic], 2) the middle ten nodes [chromatic], and 3) the highest ten nodes [microtonal].  Using the same pattern in each of the sections created the same contour of the theme, but not the same intervals, since the intervallic differences of the lowest ten notes are wide and the intervallic differences of the highest ten are much smaller.

What I found interesting is that the motif could be recognizable, even feeling like an exact reflection, when comparing it against each of the three ranges.  The intervallic differences between each of the ranges of the scale didn’t seem to alter the recognizability of the pattern.

From this experiment, perhaps a new way of dealing with motivic development can be obtained: what I call ‘motive ballooning.’  Consider drawing a motif on the outside of a balloon with a marker.  Then blow the balloon full of air, and the written motif expands.  Let the air out a little, and the motif shrinks, etc.  The motif is still recognizable, even though the size of the intervals change.

In this piece, I used two different tempos in the family of R20, 75BPM and 120BPM, so each of the three parts of the R20 scale had eight versions of the motif: Prime, Inversion, Retrograde, Retrograde/Inversion in 75BPM and 150BPM.  This, all in all, gave me a total of 24 different versions of the motif, each of them only used once, in the traditional serialist ethos.

Even though serialism is employed, each of the three sections of the overtone scale are harmonically and tonally congruent, as all notes exist inside the same overtone scale.  Harmony and Melody or, one could say, Vertical and Horizontal properties are one and the same.

(For more information, please see my article Integrated Frequency)

Integrated Frequency 1 - Rhythm, Bass

Rhythm/Bass 

This was an experiment in two different overtone scale/rhythms: R5/R10 against R30/R60.  The familiar rock style is challenged by the convergence of the two tempos and scales, creating polytonal and polytempo moments.

Only two compositional components were used to create this piece: a bass pattern and a rhythm pattern.

(For more information, please see my article, Integrated Frequency)

IF2 Chord Progression with Melody 2.0

This is an experiment, using the same basic material as 1.0; however, this time, instead of moving around the ‘circle of fifths’ (derived from within the overtone series of R20), the progression goes around the opposite direction (i.e. the ‘circle of fourths).

Since the circle of fifths is derived from within the overtone series, instead of by the Pythagorean method, the tunings between the key centers are not all perfectly in a 1:3 ratio. ( More on this later, in the article Integrated Frequency 2.)

This is an illustration of how the cycle is perfectly tuned by the 1:3 keys, while the version 1.0 is not derived in a 1:3 ‘perfect’ ratio between the keys as they modulate.

As in all of these experiments, the tempo, tuning and key are congruent in frequency.

IF2 Chord Modulation, with Serial (P,R,I,RI)

This is an experiment in modulation between the three overtone series ‘keys’ of R30 (B), R20 (E), and R22.5 (F#). There are chord progression sequences that can be made within a single overtone scale, as shown by previous experiments. In this experiment, however, I seek to expand the harmonic possibilities by essentially creating a tonic, dominant, and subdominant framework.

In addition to the above concept, I added a 12-note chromatic line, developed with the common serialism components of Prime, Retrograde, Inversion, and Retrograde/Inversion.

As the keys shift, the tempi and 12-tone lines also shift. Since the 12-tone line is derived directly from the same overtone series of its underlying harmonies, we see that serialism and harmony can co-exist.

In this work, tempo, harmony, and chromatic serialism are compatible and congruent.

IF2 Chord Progression, with Melody

This experiment, using Integrated Frequency, is an exploration into harmonic progressions both within the overtone series itself, as well as modulation to other overtone series following the circle of fifths derived from the original series of R20 (root 20 Hz). (More to come on this process in Integrated Frequency II ).

In this short piece, six overtone series are used, along with their corresponding tempos. The tempos are also in relationship to one another ‘by fifths’ if you will, following the same sequence. Within each key, harmonies are derived in their own progression. Think of it as a harmonic progression inside another harmonic progression.

The point to this experiment is to show the subtle intonation differences between the keys as they modulate from one to another. Everything is inter-related to R20, which creates cohesiveness, even though there are multiple microtonal shifts.

Hope you enjoy!

Integrated Frequency 2 - Bi-tonal Melody with Harmony

This is an experiment in modulation between the key/tempos of R40 (eighth-note = 150) and R27.5 (eighth-note = 206.25). The melody, harmony, and tempo all shift from one key to the other, alternating back and forth, from zone to zone. Creating tuplets in the melody, also gives rhythmic dimensionality to the changing tempi.

More information: Integrated Frequency

Hope you enjoy!

Integrated Frequency 2 - 2-Key Counterpoint

This is an experiment using two distinctly composed lines, each in its own key. The keys are R70 (D Major) in the tempo of 131.25BPM and R40 (E Major) in the tempo of 150BPM. The lines interact in an 8-bar pattern in a 7:8 relationship.

Interestingly, even though the lines are similar in timbre, the tuning of each line causes the ear to psychoaccoustically ‘track’ with each line without confusing them. In panning, they end up trading places, and the ear can follow the motion.

See more about Integrated Frequency.

Hope you enjoy!

God Rest Ye Merry Gentlemen (Dubstep)

Here's a little different take on the Christmas hymn, done in a Dubstep electronica mix.

Hope you enjoy!

Loop Fun

Here's a musical experiment: Modern Classical composition using looped patterns and hip-hop beats, with an electric violin improv over the top of it.

Hope you like it!