Mailing list post
From: Margo Schulter (2005-08-08)
Subject: Re: 4 new improvised works
Hello, everyone, and I'd like both to congratulate Aaron on the
2/5-comma meantone pieces, and to offer a bit of information about
some of the interesting qualities of this tuning as evidently "new --
and a creative variation on historical European meantones."
First, some comments on the four pieces, which seem to me (as some of
the titles suggest) to play on the "Renaissance/Manneristic/Baroque"
qualities of the tuning while also bringing into the proposition some
"modern" elements, as we'd expect from Aaron's track record.
<http://www.akjmusic.com/audio/praeludium_distretto.ogg>
<http://www.akjmusic.com/audio/contrapunctus_null.ogg>
<http://www.akjmusic.com/audio/eat_my_two_against_three.ogg>
<http://www.akjmusic.com/audio/ADD_crisis_center.ogg>
_Praeludium distretto_ has a title which suggests a prelude using
stretto, or close imitation -- and the "Bach-like" flavor doesn't
disappoint us, nor the "xenharmonic" elements, which reminded me a bit
of _The Juggler_ in 19-equal with its unusual interval shifts.
<http://www.akjmusic.com/audio/juggler.ogg>
_Contrapunctus null_ seened to open in a certain 20th-century classical
vein, then a bit Bachian, then back to a 20th-century style, and a
rather "jazzy" one. This is the kind of stylistic medley, and
harmonization, that is an "AKJ" trademark.
_Eat My Two-Against-Three_ had a certain quartal/quintal flavor for me
in the opening, maybe suggesting something from Bartok -- and very
pleasantly carried off. It suggests to me that a "Bartokian" style has
various nuances of melody and rhythmic which can, for example, take
place in 12-equal -- but in also tunings like this one also.
_ADD Crisis Center_ (is ADD here Attention Deficit Disorder, or
"hyperactivity"?) sounds to me like a delightfully "switched-on"
variation on Elizabethan keyboard music, or possibly, more
specifically, that of John Bull, whose ebullient ornamentations have
attracted both admiration (my reaction) and less enthusiastic
responses in some quarters. Is this, both stylistically and
intonationally, a kind of coda to the famed AKJ Bull rendition in
19-equal -- if so, it's a worthy one! This is way cool indeed.
<http://www.akjmusic.com/audio/bull_ut_re.ogg>
Why don't I start my "theoretical" remarks with a Scala file for a
12-note tuning in 2/5-comma meantone:
! mean2-5.scl
!
2/5-comma meantone, Eb-G#, C-C
12
!
53.46740
186.70497
319.94254
373.40994
506.64751
560.11491
693.35249
746.81988
880.05746
1013.29503
1066.76243
2/1
Here's a 19-note version, Gb-B#, also C-C:
! mean2-5_19.scl
!
2/5-comma meantone, Gb-B# (19)
19
!
53.46740
133.23757
186.70497
240.17237
319.94254
373.40994
426.87734
506.64751
560.11491
639.88509
693.35249
746.81988
826.59006
880.05746
933.52485
1013.29503
1066.76243
1120.22982
2/1
In historical meantones, the fifth is made somewhat narrow of pure in
order to get regular major and minor thirds at or close to ratios of
5:4 and 6:5, the 16th-17th century Renaissance/Manneristic standard of
"justness." However, even in the most heavily tempered meantones, this
narrowing was generally limited to 1/3-comma, producing pure 6:5 minor
thirds with both fifths and major thirds narrow by this amount (1/3 of
a syntonic comma at 81:80 or 21.51 cents, about 7.17 cents), as
discussed by Salinas (1577), or very slightly more in 19-equal (about
7.22 cents), described and advocated by Costeley (1570).
Aaron has used 19-equal in a great original composition, "The
Juggler," and also in his outstanding electronic rendition of John
Bull's chromatic hexachord piece using a sampled harpsichord timbre.
However, 2/5-comma meantone carries this temperament process further,
resulting in something fascinatingly "xenharmonic" -- a meantone with
minor thirds rather _larger_ than a pure 6:5, and regular diatonic
semitones of around 133 cents, getting into the territory where a
large semitone could be also be heard as a small neutral second. From
a viewpoint of Renaissance theory, one might note that this interval
is actually a just 27:25, a step occurring in 5-limit JI; from another
viewpoint, it could be called a small neutral second about midway
between 14:13 (about 128 cents) and 13:12 (about 139 cents).
A neat touch like 19-equal, but even more so: augmented seconds are
somewhere between a usual major second and minor third, here about 240
cents, which suggests a very wide major second but also in some
contexts a very small minor third. Diminished thirds (C#-Eb, G#-Bb)
are virtually pure 7:6 minor thirds!
An augmented third or "Wolf fourth" (Eb-G#), as in other typical
meantones, is quite distinct from a usual perfect fourth -- and here,
indeed, at about 427 cents, a neat very large major third of the 32:25
or approximate 9:7 variety (like a diminished fourth in 1/4-comma, for
example). A diminished fourth (e.g. C#-F, F#-Bb) is close to 13:10,
like a Wolf fourth in Zarlino's 2/7-comma.
The _chromatic_ semitone at about 53 cents -- about 10 cents smaller
than in 19-equal -- is very close to 33:32, a "quartertone" type of
interval that can also serve as a small semitone.
Here the major third at around 373 cents, or 13 cents narrow of 5:4,
is dramatically more impure than in typical historical meantones,
although slightly less so than in 12-equal (in the opposite
direction): any smaller and we might consider it also as a "submajor"
third (just as 12-equal can be considered to approximate either
5-limit or Pythagorean).
Paul Erlich and others have discussed some of the properties of
26-equal, which carries the tempering yet further than in 2/5-comma,
another "neo-meantone."
(An aside on the 19-note version of 2/5-comma meantone: here an
interesting variation on 4:5:6:7 is available, e.g. C#-E#-G#-Bb at
around 0-373-693-960 cents.)
Anyway, this is an exciting tuning for exciting pieces: the
"quasi-neutral" intervals, for example, might be used for variations
on Near Eastern styles (although here without any close equivalent of
a neutral third), and the diminished thirds as slendro-style steps:
(proportional font suggested)
Bb C# Eb F G# Bb
0 240 507 693 933 1200
240 266 187 240 267
C# Eb F# G# Bb C#
0 266 507 693 960 1200
266 240 187 267 240
Anyway, Aaron, congratulations on your intrepidity in using a great
"modern" meantone for some great pieces with your usual stylistic
acumen.
This is a quick review, then back to Los Angeles, where Mom has been
doing very well. Thanks to everyone for your support and encouragement
for us both.
Peace and love,
Margo
mschulter@...
Full thread (7 messages)
From: Aaron Krister Johnson (2005-08-04)
Subject: 4 new improvised works
....for harpsichord in 2/5-comma meantone.
It's best to listen to them in this order, as a suite:
http://www.akjmusic.com/audio/praeludium_distretto.ogg
http://www.akjmusic.com/audio/contrapunctus_null.ogg
http://www.akjmusic.com/audio/eat_my_two_against_three.ogg
http://www.akjmusic.com/audio/ADD_crisis_center.ogg
total time is around 8 minutes.
Enjoy.
Best,
Aaron.
From: Carl Lumma (2005-08-04)
Subject: Re: [MMM] 4 new improvised works
Yeah, baby!
-Carl
At 10:53 AM 8/4/2005, you wrote:
>....for harpsichord in 2/5-comma meantone.
>
>It's best to listen to them in this order, as a suite:
>
>http://www.akjmusic.com/audio/praeludium_distretto.ogg
>http://www.akjmusic.com/audio/contrapunctus_null.ogg
>http://www.akjmusic.com/audio/eat_my_two_against_three.ogg
>http://www.akjmusic.com/audio/ADD_crisis_center.ogg
>
>total time is around 8 minutes.
>
>Enjoy.
>
>Best,
>Aaron.
From: Kraig Grady (2005-08-05)
Subject: Re: [MMM] 4 new improvised works
We sure are not graced very often with this level of musicianship or
compositional technique.
You could easily put together a nice harpsichord CD.
Like your choice of order of these too.
Aaron Krister Johnson wrote:
>....for harpsichord in 2/5-comma meantone.
>
>It's best to listen to them in this order, as a suite:
>
>http://www.akjmusic.com/audio/praeludium_distretto.ogg
>http://www.akjmusic.com/audio/contrapunctus_null.ogg
>http://www.akjmusic.com/audio/eat_my_two_against_three.ogg
>http://www.akjmusic.com/audio/ADD_crisis_center.ogg
>
>total time is around 8 minutes.
>
>Enjoy.
>
>Best,
>Aaron.
>
>
>
>
>Yahoo! Groups Links
>
>
>
>
>
>
>
>
>
--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles
From: Prent Rodgers (2005-08-05)
Subject: 4 new improvised works
Aaron,
This really rocks! I heard some Emerson, Lake, & Palmer at one point,
the parallel chord movements especially. These were improvisations????
Prent
>....for harpsichord in 2/5-comma meantone.
>
>It's best to listen to them in this order, as a suite:
>
>http://www.akjmusic.com/audio/praeludium_distretto.ogg
>http://www.akjmusic.com/audio/contrapunctus_null.ogg
>http://www.akjmusic.com/audio/eat_my_two_against_three.ogg
>http://www.akjmusic.com/audio/ADD_crisis_center.ogg
>
>total time is around 8 minutes.
>
>Enjoy.
I have been!!
From: Jon Szanto (2005-08-06)
Subject: Re: [MMM] 4 new improvised works
Aaron,
{you wrote...}
>....for harpsichord in 2/5-comma meantone.
Well, it is hard to know where to begin. Wait, I know: I'm going to just
give up making music - too intimidating! :)
But seriously... First off, you didn't have to mention the tuning, but
frankly my ears don't know the subtle _positive_ implications of that
meantone (IOW, it would be instructive only for me, maybe, to hear one of
the pieces, or phrases, also in 12tet to compare). That said:
With all good music, the intonation/tuning is basically irrelevant. What
comes through is an imposing musicianship, with the ability to improvise
and encompass form, context, phrasing, direction. Really, Aaron, if these
are improvs (even allowing for the fact that you spend time doing that on a
regular basis), there is so much that is both substantive and also
*indicative* of a deep musical language and understanding.
I always feel pretty small when I hear things like this.
Crap: Chris has a rockin' electro-bash, Prent lends humanity to mere
coding, Aaron massages keyboards in real-time well enough to blush most
card-carrying university theory/composition teachers.
Nice crispy recording, ample chops, lots of taste. Altogether impressive, AKJ.
Cheers,
Jon (who would start selling equipment if it weren't for this pesky dance
commission...)
From: Aaron Krister Johnson (2005-08-06)
Subject: Re: [MMM] 4 new improvised works
Jon, Kraig-
A note about the improvisations: I often do them in real-time at about half
tempo, then, for a Nancarrow-like effect, they are sped up in tempo. But,
yes; they are improvised real-time. And occasionally i'll fix a sloppy flam
or something like a note not being held long enough which sounded choppy,
etc.
Thanks for the complements!
Best,
Aaron.
On Saturday 06 August 2005 1:37 am, Jon Szanto wrote:
> Aaron,
>
> {you wrote...}
>
> >....for harpsichord in 2/5-comma meantone.
>
> Well, it is hard to know where to begin. Wait, I know: I'm going to just
> give up making music - too intimidating! :)
>
> But seriously... First off, you didn't have to mention the tuning, but
> frankly my ears don't know the subtle _positive_ implications of that
> meantone (IOW, it would be instructive only for me, maybe, to hear one of
> the pieces, or phrases, also in 12tet to compare). That said:
>
> With all good music, the intonation/tuning is basically irrelevant. What
> comes through is an imposing musicianship, with the ability to improvise
> and encompass form, context, phrasing, direction. Really, Aaron, if these
> are improvs (even allowing for the fact that you spend time doing that on a
> regular basis), there is so much that is both substantive and also
> *indicative* of a deep musical language and understanding.
>
> I always feel pretty small when I hear things like this.
>
> Crap: Chris has a rockin' electro-bash, Prent lends humanity to mere
> coding, Aaron massages keyboards in real-time well enough to blush most
> card-carrying university theory/composition teachers.
>
> Nice crispy recording, ample chops, lots of taste. Altogether impressive,
> AKJ.
>
> Cheers,
> Jon (who would start selling equipment if it weren't for this pesky dance
> commission...)
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
From: Margo Schulter (2005-08-08)
Subject: Re: 4 new improvised works
Hello, everyone, and I'd like both to congratulate Aaron on the
2/5-comma meantone pieces, and to offer a bit of information about
some of the interesting qualities of this tuning as evidently "new --
and a creative variation on historical European meantones."
First, some comments on the four pieces, which seem to me (as some of
the titles suggest) to play on the "Renaissance/Manneristic/Baroque"
qualities of the tuning while also bringing into the proposition some
"modern" elements, as we'd expect from Aaron's track record.
<http://www.akjmusic.com/audio/praeludium_distretto.ogg>
<http://www.akjmusic.com/audio/contrapunctus_null.ogg>
<http://www.akjmusic.com/audio/eat_my_two_against_three.ogg>
<http://www.akjmusic.com/audio/ADD_crisis_center.ogg>
_Praeludium distretto_ has a title which suggests a prelude using
stretto, or close imitation -- and the "Bach-like" flavor doesn't
disappoint us, nor the "xenharmonic" elements, which reminded me a bit
of _The Juggler_ in 19-equal with its unusual interval shifts.
<http://www.akjmusic.com/audio/juggler.ogg>
_Contrapunctus null_ seened to open in a certain 20th-century classical
vein, then a bit Bachian, then back to a 20th-century style, and a
rather "jazzy" one. This is the kind of stylistic medley, and
harmonization, that is an "AKJ" trademark.
_Eat My Two-Against-Three_ had a certain quartal/quintal flavor for me
in the opening, maybe suggesting something from Bartok -- and very
pleasantly carried off. It suggests to me that a "Bartokian" style has
various nuances of melody and rhythmic which can, for example, take
place in 12-equal -- but in also tunings like this one also.
_ADD Crisis Center_ (is ADD here Attention Deficit Disorder, or
"hyperactivity"?) sounds to me like a delightfully "switched-on"
variation on Elizabethan keyboard music, or possibly, more
specifically, that of John Bull, whose ebullient ornamentations have
attracted both admiration (my reaction) and less enthusiastic
responses in some quarters. Is this, both stylistically and
intonationally, a kind of coda to the famed AKJ Bull rendition in
19-equal -- if so, it's a worthy one! This is way cool indeed.
<http://www.akjmusic.com/audio/bull_ut_re.ogg>
Why don't I start my "theoretical" remarks with a Scala file for a
12-note tuning in 2/5-comma meantone:
! mean2-5.scl
!
2/5-comma meantone, Eb-G#, C-C
12
!
53.46740
186.70497
319.94254
373.40994
506.64751
560.11491
693.35249
746.81988
880.05746
1013.29503
1066.76243
2/1
Here's a 19-note version, Gb-B#, also C-C:
! mean2-5_19.scl
!
2/5-comma meantone, Gb-B# (19)
19
!
53.46740
133.23757
186.70497
240.17237
319.94254
373.40994
426.87734
506.64751
560.11491
639.88509
693.35249
746.81988
826.59006
880.05746
933.52485
1013.29503
1066.76243
1120.22982
2/1
In historical meantones, the fifth is made somewhat narrow of pure in
order to get regular major and minor thirds at or close to ratios of
5:4 and 6:5, the 16th-17th century Renaissance/Manneristic standard of
"justness." However, even in the most heavily tempered meantones, this
narrowing was generally limited to 1/3-comma, producing pure 6:5 minor
thirds with both fifths and major thirds narrow by this amount (1/3 of
a syntonic comma at 81:80 or 21.51 cents, about 7.17 cents), as
discussed by Salinas (1577), or very slightly more in 19-equal (about
7.22 cents), described and advocated by Costeley (1570).
Aaron has used 19-equal in a great original composition, "The
Juggler," and also in his outstanding electronic rendition of John
Bull's chromatic hexachord piece using a sampled harpsichord timbre.
However, 2/5-comma meantone carries this temperament process further,
resulting in something fascinatingly "xenharmonic" -- a meantone with
minor thirds rather _larger_ than a pure 6:5, and regular diatonic
semitones of around 133 cents, getting into the territory where a
large semitone could be also be heard as a small neutral second. From
a viewpoint of Renaissance theory, one might note that this interval
is actually a just 27:25, a step occurring in 5-limit JI; from another
viewpoint, it could be called a small neutral second about midway
between 14:13 (about 128 cents) and 13:12 (about 139 cents).
A neat touch like 19-equal, but even more so: augmented seconds are
somewhere between a usual major second and minor third, here about 240
cents, which suggests a very wide major second but also in some
contexts a very small minor third. Diminished thirds (C#-Eb, G#-Bb)
are virtually pure 7:6 minor thirds!
An augmented third or "Wolf fourth" (Eb-G#), as in other typical
meantones, is quite distinct from a usual perfect fourth -- and here,
indeed, at about 427 cents, a neat very large major third of the 32:25
or approximate 9:7 variety (like a diminished fourth in 1/4-comma, for
example). A diminished fourth (e.g. C#-F, F#-Bb) is close to 13:10,
like a Wolf fourth in Zarlino's 2/7-comma.
The _chromatic_ semitone at about 53 cents -- about 10 cents smaller
than in 19-equal -- is very close to 33:32, a "quartertone" type of
interval that can also serve as a small semitone.
Here the major third at around 373 cents, or 13 cents narrow of 5:4,
is dramatically more impure than in typical historical meantones,
although slightly less so than in 12-equal (in the opposite
direction): any smaller and we might consider it also as a "submajor"
third (just as 12-equal can be considered to approximate either
5-limit or Pythagorean).
Paul Erlich and others have discussed some of the properties of
26-equal, which carries the tempering yet further than in 2/5-comma,
another "neo-meantone."
(An aside on the 19-note version of 2/5-comma meantone: here an
interesting variation on 4:5:6:7 is available, e.g. C#-E#-G#-Bb at
around 0-373-693-960 cents.)
Anyway, this is an exciting tuning for exciting pieces: the
"quasi-neutral" intervals, for example, might be used for variations
on Near Eastern styles (although here without any close equivalent of
a neutral third), and the diminished thirds as slendro-style steps:
(proportional font suggested)
Bb C# Eb F G# Bb
0 240 507 693 933 1200
240 266 187 240 267
C# Eb F# G# Bb C#
0 266 507 693 960 1200
266 240 187 267 240
Anyway, Aaron, congratulations on your intrepidity in using a great
"modern" meantone for some great pieces with your usual stylistic
acumen.
This is a quick review, then back to Los Angeles, where Mom has been
doing very well. Thanks to everyone for your support and encouragement
for us both.
Peace and love,
Margo
mschulter@...