Still reverberating after last sunday’s concert, courtesy of Teo Joling!
It’s exactly three months after MicroBlues and it feels about time to share a track from that memorable concert. It took a while before I dared to listen back to this concert because it can be confrontational: what if the recording is not inline with my feeling about the concert? But this week, between Christmas and the New Year, it was time to not only look back but also to listen back to my most significant concert of 2014!
I am happy to present my solo arrangement of the piece Nuages by Django Reinhardt in extended meantone, played on my 31-tone guitar.
Recently, I opened a Pop Up sale and exhibition with Dutch artist Borg de Nobel. I used a looper as my canvas and I ‘painted’ with the 31 tones available on my microtonal guitar.
I don’t have a recording of the whole improvisation, so I only present the finished painting, straight off the looper. Enjoy!
Please visit www.saatchiart.com/borgdenobel for more information about Borg and her paintings.
Picture by Adrienne Norman
I’ve received a question about the availability of my (non-microtonal) jazz CD’s from the past and, yes, they are still available. Please contact me if you are interested in any of the three titles below.
Review from ‘Making Choices’: The Antwerp-based trumpet player and his collaborators acknowledge the influence of John Zorn’s Masada in their use of transposed ethnic elements in the modern jazz language, but insist on the original compositions, specially written for the band by its members. As we mentioned, the tongue spoken is modern jazz, with some rock/noisy elements brought by the guitar of Melle Weijters, whose solo playing is quite alien to the jazz tradition.
Click play to hear a sample of my recorded solos on these albums!
Well, here it is, my first track on the Lucid Movinguitar. In this improvisation, I use a non-octave scale called Bohlen-Pierce, which is a 13-part equal division of the perfect twelfth (octave+fifth) which happens to be well approximated by the 41-tone system.
For more information about this scale, visit: http://www.huygens-fokker.org/bpsite/
Out of curiosity and as part of my study of the 31-tone equal temperament I created these renditions with a software instrument.
The enharmonic vocal compositions of Nicola Vicentino are historical curiosities, in which the sixteenth-century quest for expansion of tonal resources reached its limits. Although they inspired several other attempts at introducing the enharmonic genus into musical compositions, they are unique in their highly personal interpretation of this genus, and the consistency and boldness with which this interpretation is applied. This edition collects four pieces (three of them incomplete, unfortunately), which were included in Vicentino’s treatise L’antica musica ridotta alla moderna prattica (Rome 1555). One is on Latin text, three on Italian.
Dear Neil, here’s the integral recording of our set in Freiburg. No cuts and no edits; just ran it through some mastering plugins. I am so glad we got the opportunity to do this and I’m sure we’ll be able to do it again. Here, there, anywhere. Anytime!
There’s a life before, and there’s a life after the EUROMicroFest 2013. I mean: being microtonal at home is nice and all, but going out to perform and lecture resulted in rewarding responses from the audience and interesting conversations with my colleagues.
One of them, composer Todd Harrop – who presented his research on the Bohlen-Pierce scale plus a survey of his compositions for BP-clarinets – summarized the weekend on his blog.
Performing again with Etienne was a thrill and a treat. And although we have both changed in so many ways, our musical instincts are still in tune with each other. He’s definitely the most microtonal drummer I’ve ever heard!
“I am really and happily moved by the performance you both did on Saturday. Because it is sophisticated yet unheroic and very lively in the sense of the unexpected.”
Martin Wolf (audience)
On sunday, I talked about how I got into microtonalism and my instruments. I spoke about my intuitiv approach to the fretless guitar and how I’m able to use it in conventional settings. Also, I showed the theoretical inspiration for my 41-tone guitar, the H-system by Aaron Hunt.
“Nude Descending A Front Porch” brings back the retro with a stomping pulse. I feel like a Daft Punk video should accompany this one.
Album review at ‘The Equal Ground‘