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 "munchkinization", named after the Munchkin voices in The Wizard of Oz. In this case, it just makes some of the guitar parts a slight bit less harsh at times, and more harsh at other times.

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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 note scale, I pull six notes out at a time and play a set of chords and melodies. Or rather the computer picks out some chords and melodies from an array of choices. There are nine 6-note combinations chosen for this piece, each takes about a minute or two, and then it moves to the next one. Some are sweet, some are sour, some harsh, and a few just plain weird. The subharmonic series has always played tricks on me. The weird ones can be thought of as the sleeping wolves of the undertones. In this piece, they get up and dance.

The instruments are the Ernie Ball Super Slinky Guitar String sample set I made earlier this year, finger pianos, balloon drums, tube drums, trombones, and trumpets.

There are lots of slides and trills. Csound provides for function tables that can be multiplied by a note to make it go up or down at a specific rate to a specific pitch. I generated tables for all the possible combinations of the ratios in the scale, and then through some programming with Excel, the right f table is applied to each note to move to the right next pitch for each of the modes. That's the feature that can be heard as the slides and shakes of the instruments. Imagine a guitar player sliding up a note and giving it some vibrato when he hits the higher or lower note. Except it can be done for finger piano, trumpet, and strings, not just guitar.

The rhythm is in nine, with stress on the 2 + 3 + 4 beats. The tempo moves around a bit as the algorithm can decide to speed up or slow down by around 15/16ths at random times, slowing way down at the end.


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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:

I take six notes at a time from the ten notes in the scale.

The order of the modes may change, but for now it's like this:

1. 792 581
2. 925 137
3. 137 258
4. 8A3 492
5. 813695
6. 925 813
7. 792 481
8. 147 A69
9. 792 483
10. 925 137

Those are the triads that I stress in each 1-2 minute section, then I move to the next one. As usual, there is lots of randomness in this one, so I may have to make more changes to get something satisfactory.

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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:

The modes take six notes from those ten and make a subset scale. For example, the first one is this:

The 3rd notes is a very pleasant 6:5 minor above the root, and the 7th step is a 3:2 above the root. With the addition of the 27/20 (F), we have a very nice major chord on the 8th note (Bb) with the 2nd note (D) at 5:4 above the 9th, and the 5th note (F), a 3:2 above the 8th note. So this mode has a major chord and a minor chord. All very sweet and restful. Things get more challenging with other modes. I stay in each mode for about a minute or two, then move up to the next one.

One example of a challenging mode is the 5th one:

8 1 3
6 9 5

The 8th, 1st, and 3rd make a weird subminor chord, with the 1st note (C) an 11:9 above the root at 18:11 (Ab). And instead of a nice solid 3:2, we have a 22:15. Then the other triad is at the 6th, 9th, 5th. The 9th is a 13:10 above the root at 18:13, and the 5th note is a 33:20. Close to a 3:2, but not quite. That's the sleeping wolf dancing.

As we step through the nine modes, just think of yourself at a sushi bar, with the chef bringing out some unusual dishes. Every once in a while you get something "challenging". As they say in Japan, trust the chef ("Omakase").






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