JI Trombone recording
- mbarbier
- Posts: 367
- Joined: May 17, 2018
Hey y'all,
Since some JI topics pop up on here sometimes I wanted to share this project that just came out as I thought it might be of some interest.
It's a recording of Wolfgang von Schweinitz's Juz (a Yodel Cry) for trombone with rerecorded trombone. It's a large scale work that's exploring his idea of brass instruments as "tuneable alphorns", essentially just using the trombone one slide position at a time to play overtone melodies and do a series of JI vocal multiphonics, a few of which are played back to tune the next slide position. The cover is the pitch space lattice that you move through with the playback tracks guiding you back to the overtone series you started with.
Wolfgang and I worked together for a few years to remake the work and did a real deep dive on finding pretty much all the 7 limit tuneable intervals with vocal multiphonics within the inharmonicity of the trombone. It's a lot of more paired down than his later brass writing that goes really extensively into essentially brass scordatura and 41 limit stuff!
anyway- hope y'all enjoy!
[url]<LINK_TEXT text="
https://mattbarbier.bandcamp.com/album ... yodel-cry
">
https://mattbarbier.bandcamp.com/album/wolfgang-von-schweinitz-juz-a-yodel-cry
</LINK_TEXT>
Since some JI topics pop up on here sometimes I wanted to share this project that just came out as I thought it might be of some interest.
It's a recording of Wolfgang von Schweinitz's Juz (a Yodel Cry) for trombone with rerecorded trombone. It's a large scale work that's exploring his idea of brass instruments as "tuneable alphorns", essentially just using the trombone one slide position at a time to play overtone melodies and do a series of JI vocal multiphonics, a few of which are played back to tune the next slide position. The cover is the pitch space lattice that you move through with the playback tracks guiding you back to the overtone series you started with.
Wolfgang and I worked together for a few years to remake the work and did a real deep dive on finding pretty much all the 7 limit tuneable intervals with vocal multiphonics within the inharmonicity of the trombone. It's a lot of more paired down than his later brass writing that goes really extensively into essentially brass scordatura and 41 limit stuff!
anyway- hope y'all enjoy!
https://mattbarbier.bandcamp.com/album ... yodel-cry
">
https://mattbarbier.bandcamp.com/album/wolfgang-von-schweinitz-juz-a-yodel-cry
</LINK_TEXT>
- WilliamLang
- Posts: 636
- Joined: Nov 22, 2019
this is a super cool recording!
- AndrewMeronek
- Posts: 1487
- Joined: Mar 30, 2018
Really nice.
Technically, it looks to me like the pitch lattice "cover" shows the circle of fifths adding a Pythagorean comma. :cool:
Technically, it looks to me like the pitch lattice "cover" shows the circle of fifths adding a Pythagorean comma. :cool:
- mbarbier
- Posts: 367
- Joined: May 17, 2018
thanks y'all!
[quote="AndrewMeronek"]Technically, it looks to me like the pitch lattice "cover" shows the circle of fifths adding a Pythagorean comma. :cool:[/quote]
It's a bit unclear cause it's an incredibly early version of the Helmholtz-Ellis notation that Wolfgang and Marc Sabat made, but, essentially, that Bb "whole note"in the center line is the 1/1 with the D above and Gb below being the Tonal and Utonal 5/4s with the filled in notes being their natural 7ths. Then the arrows that are there are the "path" the piece takes, though it's only a portion of it.
the new edition is in the current HE system and is sadly, computer instead of hand drawn. I like the original score cause it slowly got messier as the deadline got closer....
[quote="AndrewMeronek"]Technically, it looks to me like the pitch lattice "cover" shows the circle of fifths adding a Pythagorean comma. :cool:[/quote]
It's a bit unclear cause it's an incredibly early version of the Helmholtz-Ellis notation that Wolfgang and Marc Sabat made, but, essentially, that Bb "whole note"in the center line is the 1/1 with the D above and Gb below being the Tonal and Utonal 5/4s with the filled in notes being their natural 7ths. Then the arrows that are there are the "path" the piece takes, though it's only a portion of it.
the new edition is in the current HE system and is sadly, computer instead of hand drawn. I like the original score cause it slowly got messier as the deadline got closer....