A couple of months ago I learned one or two pieces in Book 4 of Bela Bartok’s Mikrokosmos. And recently one of the people on the Xenharmonic Alliance II group on Facebook posted a link to a really nice piece for solo piano (digital, of course) in 17-note equal temperament.
Inspired by that piece, I figured I’d try my hand at a Mikrokosmos-style piece — short, melodic, and harmonically modern, in 17et. It only took a few hours to whip something up:
I enjoyed the process so much that a few days later I tried again:
In case you’re curious: No, these weren’t played in real time. There’s a lot of hand-editing of note lengths and velocities, quantizing, trying different harmonies by dragging the notes up and down, and manually adjusting the tempo here and there.
If I do more of these, I’m going to have to call the series “Tiny Everything,” so the first piece needs its own name. How about “Antic”? The second piece, with those heavy minor chords in the lower register, seems to be called “Gloom.”
I’m still foodling with the question of how best to notate a 17-note scale on a conventional five-line staff. Or even whether to bother. If you look at the Wikipedia article on 17et, you’ll find Easley Blackwood’s method. Easley obviously put a lot of thought into questions of this sort, but I find it odd that his chromatic scale zigzags. The first three notes, for instance, are C, D-flat, and then C-sharp. Also, with his method the interval of a neutral third (which divides the perfect fifth evenly) is spelled either as an augmented second or as a diminished fourth, never as a third. Read the rest of this entry »