Podcast Bumper Music

Podcast Bumper Music

Microtonal Music is music using more than 12 tones per octave. I compose music using Csound and a preprocessor I wrote in Turbo Pascal. I post small updates as the compositions are being created, and a few final versions once I'm done. I strive towards music that could be played if we had the instruments capable of playing the notes. Think of it as "fake but accurate".

Episodes

August 10, 2012
Here's one that took a while to make. I was able to build Csound v5 under Linux on an IBM mainframe Integrated Facility for Linux (IFL), thanks to an IBM developer program. Csound is back on the mainframe after not seeing such an architecture for probably 40 years. It runs pretty fast, but that's not the reason to build it on the platform. I just wanted to understand the challenges of moving to the s390x architecture, since I sell ...

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Here's a version made on a Linux implementation on Amazon's Web Services. Now that my preprocessor has been ported to open source Free Pascal, it was a snap to compile it on an Ubuntu Linux instance. Csound only needed a simple install. It's my first try at Linux. Next stop: RedHat under z/VM on an IBM IFL at their developer sandbox. Unfortunately, there's no port of Free Pascal that supports the z architecture or instruction set, ...

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July 22, 2012
Here is the last version of June Gloom I will post. Today's run through the algorithm is a milepost of...

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July 1, 2012
This is another final version. The eleventh time through the track shows off the idea of several different instruments playing the melody, and each one can choose to trill, slide up, slide down, play only one note instead of all three, and many other variations. The conflict between the instruments makes for an interesting sound.

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June 30, 2012
This is a final version of the piece I've been working on lately. As with several recent works, this one takes six notes at a time out of a 10-note scale based on the undertone series. Here is a small chart that shows the pitches and ratios used and the order of the changes. The accidentals are in the Sagittal font.
This is a work in progress. Today I modified the amplitude, octaves, tempos, and added a cello and tuba to the mix.

The point of my recent music is choosing from several six note combinations from a ten note undertone scale. Some are very easy on the ears, and some are challenging. See if you can tell which is which.

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This is a work in progress. Noodling around with some different keys.

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June 23, 2012
This is a work in progress. Adding a few more options for the melody. Now he can either trill, slide up, slide down, or play stacatto. More to come. And a few more keys.

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June 22, 2012

This is a work in progress. Just the woodwinds for now. The title is what Seattle is like this time of year.


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Here's a final version of the piece I've been working on lately. It's scored for bass ...

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April 30, 2012
This is a work in progress. Today's installment includes many more types of chords. Very slippery notes. The chord changes are derived from the undertone scale I've been working with lately.

Play it here

or download this link

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April 29, 2012
My entry for the Untwelve 60x60 Mix.

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April 24, 2012
This is a work in progress. I'm playing with the bridge changes. After a vamp on G minor to Ab major we have the following:
  • Eb major
  • Bb major
  • F minor
  • C minor
  • B supermajor
  • Bf major
Then back to the G minor to Ab major. Of course they are not really those keys. They are taken from the scale pictured here:
April 22, 2012
This is a work in progress. Just a set of up and down triads of two chords, gliding from one to the other. I'm using the Ernie Ball Super Slinky guitar string samples. Play it here

or download this link

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This is a work in progress. Play it here

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April 14, 2012
This is a work in progress. Just some strings for now.

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I made a few more changes to the guitar and horn parts. Nothing major. I spent the past few days chasing a bug that would cause the pre-processor to request a sample that did not exist. I fixed it so that it no longer does that. Now I have much more freedom to allow a randomizer to pick a higher or lower sample than normal. This results in new timbres as it picks different samples at different times. It's a way to force "munchkiniz...

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This one is final for now. It's the 14th take through the algorithm.

It uses the subharmonic series to the 15 limit, plus one more (36:19) beyond the 15-limit, and an additional note (27:20) which I added to be harmonious with the 9:5.

18:18 18:16 18:15 18:14 27:20 18:13 18:12 18:11 18:10 36:19 36:18

which can also be written as:

1:1 9:8 6:5 9:7 27:20 18:13 3:2 18:11 9:5 36:19 2:1

From that ten n...

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This is the first of the evaluation copies. I generally make a few copies then go for a walk and listen to them. This is one. I may change some things before it goes final.

It's scored for Ernie Ball Super Slinky String samples, finger pianos, trumpets, trombones, tube drums, and balloon drums.

The scale is based on modes derived from the following undertone + one scale:

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This is a work in progress.

I added some new modes in the scale. Some are more "challenging". The piece steps through nine modes of the 10 available notes in the a scale derived principally from the undertone series with numerators over the demoninator 18. Plus one more note at 27:20 as a 3:2 above the 9:5 (Bb).

The whole scale is shown on the following chart:
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