Cam Taylor Music

The second video in my new series of improvised performances taking the listener/viewer on a brief tour of the tonality. The first one, for major tonality, is here: https://www.youtube.com/watch?v=3gpg1ahK5TQ Partially inspired by - Edwin Gordon, MLT and the music teaching work I do with harmonic audiation. https://giml.org/mlt/about/ - Eric Rasmussen's demonstrations of all this in young kids https://www.youtube.com/watch?v=eb2DtjbsUew - Eric Ederer's amazing videos a few years back where he "walks you through" the makams and explains what's going on during the performance https://www.youtube.com/watch?v=s202xFm53YE - Sami Abu Shumays' amazing videos acculturating, singing, labelling and analysing melody in terms of maqam, ajnas, function and context. https://www.youtube.com/watch?v=oTsDwwPFREA - Mike Battaglia's Categorical Experiments on SoundCloud many years back comparing the same extracts of music and performances in many tunings in the usual diatonic range, with fifths from 4 steps of 7-equal (686c) through to 3 steps of 5-equal (720c), and occasionally beyond. https://soundcloud.com/mikebattagliaexperiments/sets/the-categorical-experiments There is A LOT of in-video text, and editing the text in took much longer than recording or editing video or audio, but hopefully with it there this video can be used - as aural tonal acculturation for major tonality (without any labels), in which case, just listen, and I'll probably end up making an audio-only track on my archive site - to teach harmonic audation, tonal functions and how to move around chords "by ear", including labels for each unique sound (the primary purpose for all the text) - how to play simple melodies, chords and voicings on the Lumatone in C (and, because it's a generalised keyboard, now you can play in every key!) - as a comparison between tunings. Here I'm playing in 31-equal, but I'm also planning on retuning the performance to other tunings across the diatonic spectrum, so one can hear tonal function stay exactly the same, while intonation changes subtly or dramatically. Comparing meantone (narrow fifth), pythagorean-like (near pure fifth) and superpythagorean (wide fifth) tunings should prove interesting. Those new to microtonality might find the piano sounds a little strange, but hopefully 5-6 minutes is enough for your ears to start hearing the added richness of major and minor harmonies in meantone. Yes, the tuning is very intentional. And perhaps piano is not the best timbre for this tuning, but I find it makes for an interesting comparison. I would love to compare this in 26, 19, 31, 55, 12, 29, 41, 17, 22 and 27-equal. Phew, that's enough text for now. Let me know what you think of the video.

Follow on from the last one, this time in a 41-tone circle of fifths inside 94EDO. Full 94EDO is fantastic too, or as much as the Lumatone can give in a Bosanquet mapping (56 tones), but it makes even more sense in my opinion to wrap at either 41 or 53 tones. Notice the incredible similarity between these tunings (53 and 94EDOs), but the slight differences as we get further out. With my colour scheme one can see exactly where that 715c semi-wolf fifth is, between //F and \\Db, and one can see that e.g. the small major thirds from the light blue row are not tuned quite as expected, but slightly lower in pitch (submajor). I didn't just stick in C, but also didn't wander quite as far as I could have. This tuning (and its cousin, the 53-tone circle) is a whole lot of fun, and I actually played a bit longer but my phone ran out of storage space while recording. Will upload the full audio to archive and post the link in a comment. As for the colour scheme, the natural row is white, semi-tones splitting the naturals if present are black (not present in this tuning), warmer rainbow colours are higher in pitch, cooler colours are lower in pitch. The full 16-colour rainbow goes white-light yellow-light orange-light red-dark violet-dark indigo-dark blue-dark green-black-dark yellow-dark orange-dark red-light violet-light indigo-light blue-light green-white

The third video in my new series of improvised performances taking the listener/viewer on a brief tour of the tonality. This one features many less "outside" modulation, and spends more time acculturating the listener to "pure" dorian. The first one, for major tonality, is here: https://www.youtube.com/watch?v=3gpg1ahK5TQ The second, for minor tonality, is here: https://www.youtube.com/watch?v=6cQQ0d3X88M Partially inspired by - Edwin Gordon, MLT and the music teaching work I do with harmonic audiation. https://giml.org/mlt/about/ - Eric Rasmussen's demonstrations of all this in young kids https://www.youtube.com/watch?v=eb2DtjbsUew - Eric Ederer's amazing videos a few years back where he "walks you through" the makams and explains what's going on during the performance https://www.youtube.com/watch?v=s202xFm53YE - Sami Abu Shumays' amazing videos acculturating, singing, labelling and analysing melody in terms of maqam, ajnas, function and context. https://www.youtube.com/watch?v=oTsDwwPFREA - Mike Battaglia's Categorical Experiments on SoundCloud many years back comparing the same extracts of music and performances in many tunings in the usual diatonic range, with fifths from 4 steps of 7-equal (686c) through to 3 steps of 5-equal (720c), and occasionally beyond. https://soundcloud.com/mikebattagliaexperiments/sets/the-categorical-experiments There is A LOT of in-video text, and editing the text in took much longer than recording or editing video or audio, but hopefully with it there this video can be used - as aural tonal acculturation for major tonality (without any labels), in which case, just listen, and I'll probably end up making an audio-only track on my archive site - to teach harmonic audation, tonal functions and how to move around chords "by ear", including labels for each unique sound (the primary purpose for all the text) - how to play simple melodies, chords and voicings on the Lumatone in C (and, because it's a generalised keyboard, now you can play in every key!) - as a comparison between tunings. Here I'm playing in 31-equal, but I'm also planning on retuning the performance to other tunings across the diatonic spectrum, so one can hear tonal function stay exactly the same, while intonation changes subtly or dramatically. Comparing meantone (narrow fifth), pythagorean-like (near pure fifth) and superpythagorean (wide fifth) tunings should prove interesting. Those new to microtonality might find the piano sounds a little strange, but hopefully 5-6 minutes is enough for your ears to start hearing the added richness of major and minor harmonies in meantone. Yes, the tuning is very intentional. And perhaps piano is not the best timbre for this tuning, but I find it makes for an interesting comparison. I would love to compare this in 26, 19, 31, 55, 12, 29, 41, 17, 22 and 27-equal. Phew, that's enough text for now. Let me know what you think of the video.