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User: tuckeroo11

DNA Music David Deamer, Professor of Chemistry, UC Santa Cruz Tags: wonderfest festival science tucker hiatt branson Festival of Science genetics san francisco

User: Ben101Dave

B is for Boppy created by The Microtones, paving it's way into Greater Manchester's music history(apparently) Tags: The Microtones Music Boppy

User: danstearns

Cirrus and Pileus I wrote Cirrus and Pileus in response to Jacob Barton's call for piano music in 17-tone equal temperament, but it's also a personal homage to nature mysticism and the songs of Charles Ives. This performance features Ryan Stickney, voice and Jacob Barton and Daniel Sedgwick, retuned pianos. Tags: microtone microtones microtonal Dan Stearns Charles Ives

User: AaronAndrewHunt

TONAL PLEXUS - TPX6s Live Control 1 The new TPX6s ($3109) from H-Pi Instruments has a matrix-style interface for controlling global synthesizer parameters, and a joystick option for controlling global pitch bend. This is a demonstration of those features, although I forgot to demonstrate one of the parameter sets, and the wide variety of settings options is not really shown here in this one example modification of an organ patch. Find out more at http://www.h-pi.com Tags: microtonal microtones quartertones partch axis-64 microzone keyboard synthesizer tbx1

User: PureXTC420

fake raga i play fake raga on a fretless and explore microtones Tags: fretless raga deluxe reverb microtonal

User: AaronAndrewHunt

TONAL PLEXUS - part 1 The first (ultra short) video demonstration of the Tonal Plexus TPX4s 844 key microtonal keyboard synthesizer. Check it out at http://www.h-pi.com Tags: microtonal microtones quartertones harmonics partch chromatone axis-64 microzone keyboard synthesizer TBX1

User: AaronAndrewHunt

Tonal Plexus TPX6s Here is a sketch using 2 main ideas. The first is a motive including the 11th and 13th harmonics, and the second is a sequence using natural 7ths. Sorry, the camera angle is not the greatest as it hides what my right hand is doing. The sound is 019 ChrchOrgn from the internal synth, with reverb setting on 07 (delay), all max values. This was a single take. See more at http://www.h-pi.com Tags: microtonal microtones tuning microzone axis-64 tonal plexus synthesizer keyboard tbx1

User: AaronAndrewHunt

TBX1 demo 1 This is a demonstration of the H-Pi Instruments Tuning Box TBX1 ($299), a device which retunes standard MIDI keyboards so that any key can play any pitch you want. In this demo, a Yamaha PSR-310 ($149) plays an arpeggio throughout, sending MIDI notes of a C-Major chord, which you hear at the beginning going through the box in bypass mode (no retuning). That chord then gets retuned in 15 different ways, and I noodle around (not much keyboard skill shown here) over the arpeggio in each tuning. Each of the 15 presets stores a tuning and a bank / patch change. The box stores up to 128 tunings in 4 layers = 512 tunings, each 128 notes. Check it out here: http://www.h-pi.com/TBX1intro.html Tags: microtonal microtones quartertones partch axis-64 microzone keyboard synthesizer

User: DieselBodine

Quarter-tone Music TO LISTEN IN STEREO, COPY & PASTE THIS URL: www.youtube.com/watch?v=pdcgm4lcxWE&fmt=18 With Quarter-tones, imagine a fret between every fret on a Guitar. There have been several instruments which have been altered to accomplish the additional pitches, including: Piano, Organ, Flute, Clarinet, Trumpet, and a variety of other instruments as well. The Violin Family and other fretless Stringed Instruments and Slide Trombones can play Quarter or other Microtones with ease. Here is an example of some Quarter-tone Music I just composed, with a brief spoken introduction before the music begins. Diesel Bodine: Composer Instrumentation: Piano, Marimba, Cello, Flute, Clarinet, Snare Drum, Bass Drum and Bowed Cymbal Tags: music quartertone microtone composition modern dissonance Alois Haba piano marimba cello Charles Ives Diesel Bodine Scott Crothers

User: chinesejazzviolinist

Thelonious Monk (Solo Saxophone) Premiere saxophonist Sam Newsome, www.samnewsome.com formerly with Terence Blanchard and Donald Byrd, showcasing multiphonics and various extended techniques. These Thelonious Monk compositions were recorded on "Monk Abstractions." Tags: saxophone jazz improvisation microtones Sam Newsome Steve Lacy Sidney Bechet Lucky Thompson

User: MeditationDNA

Deep Ocean Visualization Meditation A collage of pictures from artists on flickr.com for this audio meditation. The meditation is from http://www.meditationdna.com and the specific meditation is titled "Deep Ocean Visualization". This meditation is used for visualizing future, past, and present. Helps root your core frequency back to the Earth tone (G). Best in the morning or around noon. Allow the microtones in the voice to take you on a journey. Complete list of photographers available at the blog post: http://www.meditationdna.com/blog/meditation-dna/7/deep-ocean-visualization-meditation-video/ Tags: peace zen meditation mDNA dna holistic healing music to quiet the mind relaxation visualization spirituality journey

User: AaronAndrewHunt

TONAL PLEXUS - part 2 The second video demonstration of the H-Pi Tonal Plexus TPX4s 844 key microtonal keyboard synthesizer http://www.h-pi.com/TPX28intro.html I'm keeping these really short right now because I'm still learning how to do this YouTube thing. These videos will get better and more substantive, I promise. This one should look and sound a little better than part 1. Check out more at http://www.h-pi.com Tags: microtonal microtones quartertones harmonics partch chromatone axis-64 microzone keyboard synthesizer TBX1

User: 57lowe

Thank you James Tenney Replaying a subway disaster through the ears of James Tenney. Music I composed using Axis 64 into H-pi.com Tuning box set up with James Tenney scale into V-synth XT. Joined by MalletKat into pC2R. Tags: experimental electronic microtones microtonal

User: AaronAndrewHunt

TONAL PLEXUS - part 3 This is a short improvisation played on the H-Pi Tonal Plexus TPX4s 844 key microtonal keyboard synthesizer http://www.h-pi.com/TPX28intro.html The sound used is from the internal synth and is the piano patch with a modified envelope and EQ (on-board controls allow ADSR and EQ modification). I used the audio LINE OUT from the keyboard this time, so it should sound cleaner than the first 2 videos. The material here revolves around extended harmonics up to the 13-Limit on Bb, F, #+Eb, and #+Ab. There is some editing to remove most of the musically weak moments, but it's far from perfect. I hope you find it enjoyable. Check out more at http://www.h-pi.com Tags: microtonal microtones quartertones harmonics partch chromatone axis-64 microzone keyboard synthesizer TBX1

User: zoomoozophone

Armin Fuchs: "Harada-Remix" (2008) Remix of Keiko Harada's "Triple Cadence 1" (originally written in 2003 for 2 pianos and played live by Markus Bellheim & Armin Fuchs) for 8 microtonal tuned pianos combined with Aikido-Photos. Tags: Aikido Bellheim Fuchs Keiko-Harada live microtones piano Remix Japan Komponist composer

User: kishoriray

Ustad Baba Allaudin Khan, Esraj, Raag Bhairav, part 3 read about him from his disciple Pandit Ravi Shankar's autobiography [copy/paste link] http://music.calarts.edu/~bansuri/pages/allaudin.html here an excerpt of it: As a teacher, Baba aims at perfecting the hand and finger technique of the student. No matter what in- strument the student may choose, Baba insists that the student who shows promise should also learn to sing the palta, sargams, and other song compositions, carefully delineating the scope of the raga and its distinctive notes and phrases and correctly using the microtones, or shrutis, to give the proper effect to the music and make it come alive. The reason for this is, of course, that the basis of our music is vocal, and it is composed primarily of melody, of embellishment, and of rhythm; any melodic phrase, with or without a definite rhythm, that can be sung can also be played on an instrument, with each instrument's own fea- tures bringing a special quality to the sound. Ac- cording to our tradition, even the instrumentalists are required to have a moderate command of the voice. This makes it easier for them when they take on the role of teacher to instruct their students, merely by singing the gats, or tans, or todas, or even the alap, jor, and jhala. Along with the ability to sing the melodies, Baba recommends that his students learn to play the tabla and acquire a good knowledge of taladhaya (rhythmics). In mastering the funda- mentals, the student learns all the technique of prop- erly handling the instrument of his choice, working in the particular idiom, tonal range, and musical scope of a given instrument by practicing scales, palta, sargams, and bols taught by the guru. Gener- ally, Baba starts with basic ragas like Kalyan for the evening and Bhairav for the morning, first giving, many pieces of "fixed music" in the form of gats, tans, or todas based on the raga. By "fixed music" I do not mean music that is written down as it is in the West; rather I am referring to what we call bandishes, which literally means "bound down," but in this con- text means "fixed." These are vocal or instrumental pieces, either traditional compositions or the teacher's own, that students learn and memorize by playing over hundreds, even thousands, of times, to be able to produce the correct, clear sound, intonation, and phrasing. Thus, Baba lays a solid foundation for the student to know the sanctified framework of the ragas and talas. When the student, after some years of training, has fairly good control of the basic technique of the in- strument and has learned a few more important morn- ing and evening ragas (Sarang, Todi, Bhimpalasi, Bhairav, Yaman Kalyan, Bihag, and so on) and has some mastery of the fundamentals of solo playing, then he may expand his creative faculties and is encouraged to improvise as he plays. But he has to be careful not to impinge on the purity of the raga. That is, his playing must be correct both in technique and interpretation. The right feeling of a raga is some- thing that must be taught by the guru and nurtured from the germ of musical sensitivity within the stu- dent. Unlike some other musicians, Baba has never been stingy or jealous about passing on to deserving students the great and sacred art that he possesses. In fact, when he is inspired in his teaching, it is as if a floodgate had opened up and an ocean of beautiful and divine music were flowing out. The disciple spends many hours simply listening to his guru, and then he endeavors to fill up the frame of a raga with impro- vised passages born out of the compelling mood of the moment or enlarged through his own attempts at improvisation as his understanding grows and he becomes more familiar with a particular raga. At first, the student may improvise only a fraction of his performance, but as his musicianship matures, so his confidence grows, and he improvises more and more. It is, in a way, like learning to swim. It is exhilarating in the beginning to feel your own body moving through the water, but you are afraid to swim far and there is always the fear of losing control somehow. So it is with a raga. You are always a little afraid at first that you will make mistakes, play the wrong notes, and go out of a raga or lose count of the rhythm as the raga carries you along, but your confidence keeps growing, and one day, you feel you have complete control over what you are playing. A truly excellent and creative musician of the Hindustani system will improvise anywhere from fifty to ninety per cent of his music as he performs, but this freedom can come about only after many many years of basic study and discipline and organized training (if he has a good deal of talent to begin with), and after profound study of the ragas, and finally, if he has been blessed with guru-kripa, the favor of the guru. Tags: Ustad Allaudin Khan Raag Bhairav part

User: AaronAndrewHunt

TONAL PLEXUS - part 4 This is a little sketch of a tune played on the H-Pi Tonal Plexus TPX4s 844 key microtonal keyboard synthesizer http://www.h-pi.com/TPX28intro.html by yours truly, the inventor and builder. The sound used is from the internal synth and is called 'PluckySynth', with a slightly modified envelope and EQ. Audio LINE OUT from the keyboard is mixed with external audio, along with a drum track made with the Ultrabeat synthesizer on Logic Express. This is a simple tune, which I think might sound a bit boring without the tuning control. The melodic line sings "Goodbye Cold Winter" or "Goodbye to the Winter". Several sizes of minor thirds are used. There are a few edits and some little mistakes I couldn't remove, but there's only so much time in a day. I hope you find it interesting. Check out more at http://www.h-pi.com FOR THE FUTURE OF MUSIC Tags: microtonal microtones quartertones harmonics partch chromatone axis-64 microzone keyboard synthesizer TBX1

User: AaronAndrewHunt

TBX1 - Invention in 7ET H-Pi Instruments summer intern Mr. Harrison Cole plays "Invention in 7ET" on a keyboard equipped with a TBX1 ($299) to change the tuning of the white keys to 7 equal steps per octave. Filmed by Mr. Garrett Schmidt. http://www.h-pi.com Tags: microtonal microtones quartertones partch axis-64 microzone keyboard synthesizer tbx1

User: FretlessGuitarFest

Jon Catler and Meredith Borden 2006 Check out Microtonalists Jon Catler and Meredith Borden from the 2006 event. www.NYCFretLessGuitarFestival.com Tags: fretless guitar festival new york jonb catler microtones meredith borden unfretted nyc

User: modularland

Improbable Meditation Blacet Improbability Drive is generating all CVs - this creates the microtones and polyrhythm. No MIDI, no sequencers, mono, no edits, small amount of VST delay on one sound, the rest is analog delay. Modcan, Blacet, Synthesizers.com, STG Soundlabs, Manley Tags: Electronic Modular Synthesizer Analog Modcan Blacet Synthesizers.com STG Soundlabs Manley Moog Arp Buchla

User: omaroudplayer

back sabbath's Iron man on the saz Playing Sabbath on the baglama saz can be fun. Listen to the microtones I put in there. Sabbath rocks, and so does the saz Tags: saz black sabbath metal baglama

User: thetikitorch

Iwalani School of Dance - Maori Tribute Pre-European Māori music was predominantly sung, but researchers Hirini Melbourne and Richard Nunns have unearthed a rich tradition of blown, struck and whirled instruments. Songs (waiata) were sung solo, in unison or at the octave. Types of song included lullabies (oriori), love songs (waitata aroha) and laments (waiata tangi). It was traditional to end a speech with a song, but none are reported to have been composed especially for this setting or confined to it. Some of the smaller wind instruments were also sung into, and the sound of the poi (raupo ball swung on the end of a flax cord) provided a rhythmic accompaniment to waiata poi. Captain Cook reported that the Māori sang in "semitones" and others reported that the Māori had no singing/vocal music at all or sang discordantly, but this is incorrect. Europeans could not hear the microtones the Māori were singing. A pre-European song could have a range of as little as a minor third but with several more than the four notes of European music within that range. A song would repeat a single melodic line, generally centred on one note, falling away at the end of the last line. It was a bad omen for a song to be interrupted, so singers in groups would cover for each other while individuals took breath. It was missionary influence that led to the harmonisation of modern Māori music. Through the 19th and 20th centuries the compass of new songs in traditional style gradually increased, so that it is possible to date a song approximately by its range. As part of a deliberate campaign to revive Māori music and culture in the early 20th century, Ngata virtually invented the "action song" (waiata-a-ringa) in which stylised body movements, many with standardised meanings, synchronise with the singing. He, Tuini Ngawai and the tourist concert parties of Rotorua developed the familiar performance of today, with sung entrance, poi, haka ("war dance"), stick game, hymn, ancient song and/or action song, and sung exit. The group that performs it is known as a kapa haka, and in the last few decades, competitions within iwi (tribes) and religious denominations (notably the Kotahitanga sect), regionally and nationally, have raised their performances to a high standard. Tags: "iwalani" "iwalani tseu" "aureana" "aureana dance" school of performing arts

User: mephyman

Quarter-Tone Quodlibet A multistyllistic pianistic quodlibet exploiting yet one of the other as-yet-untapped resources available to composers nowadays by MIDI... divisions of the semitone! ...a note about these notes... they give as much as you put into them. They were composed with headphones on and as such are meant to be listened to at high volume. Tags: Quarter tone fantasia microtones Charles Ives Jeff Meph

User: thePharaohsDen

Vaginals Live @ The Pharaohs Den ArtsWalk Vaginals Live @ The Pharaohs Den ArtsWalk Tags: bill wesley hms studios pharaohs den riverside ca vaginals array instruments astronation microtones artwalk avant-garde

User: tafw

Controlled Improvisation on a contemporary style Here microtones are clear. . . Tags: Controlled Improvisation Contemporary Music Pedro M. Rocha

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