Hello,

I've been listening to some gagaku recordings lately (like the good little
avant garde wannabe that I am ; ) ) & the sho is an obvious point of
interest, & i don't know to what extent it's coincidence or (like Feldman)
there's an unspoken ubiquity of influence here across a wide range of more
recent, lowercase styles of music. (its that whole "clustered overtones
fading / dropping in & out" thing...)

Anyway, the obvious points to try & understand (before attempting to
implement & extend some of the ideas in csound - particularly as my
ambitions for ethnic dulcimers & banjos are still unrealised...but largely
due to not getting around to tackling the issue head on yet...incidentally
how are those loris opcodes coming along? .... ) 

Sorry. Re: Sho

* what tones does it produce (& are harmonics used to get really the really
high pitches? up to 60k i read somewhere...)
* what chordal combinations of them can be played
* how do they get such cool sounding "crossfades" happening? (maybe there
are 2 players sharing chords in sucession & crossfading over each other?)

I'm not so interested in the tonal colour per-se just yet. Like most of my
designs, i basically try & implement the "mechanics" of the process with a
simple solitary sine wave synth (which i think will suit the "clustered"
sound anyway..) & then playback samples or more dynamic synthesis options
from there....

Spent about the last 30 minutes with google on this but to no avail. I know
this will be an interest & influence for many of you, & so I welcome any
comments or guidance or example code.

muchos grassyarse

T.


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Yes thanks I saw that, but it's a bit difficult to suss out what's going on
exactly (re the notation of the changes between chords...)

The book thats cited in that article is in storage in my local State Public
Reference library as it happens, so i'll go & check it later this week.


2g-2 wrote:
> 
> what about this that has nothing to do with CS?
> http://www.ksanti.net/free-reed/history/sho.html
> 
> am not sure but i remember somebody telling me that
> it's tuned non et but somethang based on 3/2
> and i think some notes cannot be played together
> because of the physical structure it has
> 
> On 12/3/07, Tim Mortimer  wrote:
>> * what tones does it produce (& are harmonics used to get really the
>> really
>> high pitches? up to 60k i read somewhere...)
>> * what chordal combinations of them can be played
>> * how do they get such cool sounding "crossfades" happening? (maybe there
>> are 2 players sharing chords in sucession & crossfading over each other?)
>>
>> I'm not so interested in the tonal colour per-se just yet. Like most of
>> my
>> designs, i basically try & implement the "mechanics" of the process with
>> a
>> simple solitary sine wave synth (which i think will suit the "clustered"
>> sound anyway..) & then playback samples or more dynamic synthesis options
>> from there....
>>
>> Spent about the last 30 minutes with google on this but to no avail. I
>> know
>> this will be an interest & influence for many of you, & so I welcome any
>> comments or guidance or example code.
> 
> -- 
> 2g
> http://micro.ispretty.com
> 
> 
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
> 
> 

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