There's a Twitch-streaming raid train underway. Live music every hour: https://raidrunner.net/events/blue-moon-train
Tonight from 9-10 PM EDT I'll be doing...something #improvisational and #ambient, likely with #microtonal #guitar. Let's find out what!
Angine de Poitrine - Fabienk, live at Magasin 4, Brussels, 2026-05-26
https://web.archive.org/web/20260529194311/https://www.magasin4.be/concerts/49893/2026-05-26/
Recorded by me, first row.
All rights belong to Angine de Poitrine
Arbit by DonutsDelivery 🎹
Composition workstation w/ harmonic piano roll + microtonal capabilities.
💻 Win/Mac/Linux (VST3, CLAP)
🎁 FREE https://donutsdelivery.online/arbit
The free version has limited functionality
#free #microtonal #composition #midi #mpe #lua #sequencer #vst3 #clap
Monday's #ambient #improv on #microtonal #justIntonation #guitar went up last night. Wind instrument timbres, consonant intervals with some spicy close intervals as well. A soundtrack for viewing an unfamiliar landscape. $0/name-your-price at https://snwv.bandcamp.com/album/music-at-a-distance-309
6 track album
https://homorehabilis.bandcamp.com/album/soul-symbiosis
Our project in progress contains structural compositions based on 7-to-23-limit Just Intonation, derived from the harmonic analysis of bioacoustic data.
The 7-limit Just Intonation Blues series are created by extracting the chord progression from a work played with the Chikuzen Biwa, a semi-traditional Japanese instrument, that tuned in a custom ratio 9:12:14:21.
These pieces explore the Just Intonation system as a universal language of Nature based on the harmonics. Birds are singing on Just Intonation limited by the prime number 11 or more higher around 23 by listening the natural harmonics of own voice or fellow's.
Since Just Intonation system using these higher-order prime numbers includes intervals that approximate 12-tone Equal Temperament (for example 17/16, 19/16), TET can be seen as a transitional tuning system that attempted to imitate these natural pitches but failed to achieve it.
And this project is based on the Phase Transition Theory due to Desargue's Theoremical Projection between the Musical Right-angled Triangles through the natural harmonic series.
#Birds #Nature #Music #Microtonal #JustIntonation #NaturalLanguage
10 track album
Wavering Worlds #24 // Kristina Warren & Sara Zlanabitnig
bb15 – space for contemporary art, Tuesday, June 2 at 07:00 PM GMT+2
Wavering Worlds #24
Kristina Warren & Sara Zlanabitnig
Performance: Tuesday June 2nd, 7 pm
Kristina Warren (US) is a composer, improviser, media artist based in Providence in the northeastern US. In order to highlight the ebbs and flows of individual and collective listening, Warren gives frequent audiovisual performances (ranging from synth voyages and digital soundscapes to concertina meditations and beyond) along with installations, workshops, lectures, and more. Work recently presented at: Flux Festival Montréal [CA], Synth Library Prague [CZ], MuseumsQuartier Wien [AT], Experimentik Berlin [DE], IOIC Zürich [CH], The Bluecoat Liverpool [UK], Light & Sound Design (Brooklyn), Elastic Arts (Chicago), and Rhizome (DC).
At bb15 Kristina will perform selections from recent audiovisual concertina album Tusk (2026, Gold Bolus Recordings). This immersive work demonstrates the fierce range and beguiling beauty of the concertina, a small squeezebox instrument. Traversing fluidly from white-noise bellows sounds to resonance and difference tones, Tusk keens across memory and interior landscape to activate an otherworldly yet instinctive resonance.
Sara Zlanabitnig is an Austrian flutist, improviser and sound artist based in Vienna. Her artistic focus lies on free improvisation and experimental music, combining the acoustic flute with electronics, effects units, and extended playing techniques. In her work, she explores fragile sonic states, overtones, microtonality, and the physical presence of breath and resonance. In addition to her international concert activities, Zlanabitnig is actively involved in cultural policy. She is a co-founder of the Fraufeld* platform for networking female musicians in the field of improvised music, a co-organizer of the collectively curated festival Jahresendzeitschokoladenhohlkörper, and a member of the direction at Vienna’s echoraum. Her work operates at the intersection of improvisation, sound research and collective practice.
Kristina Warren (c) DerekRush
Sara Zlanabitnig (c) Christian Azzouni
https://kulturkarte.servus.at/event/wavering-worlds-24-kristina-warren-and-sara-zlanabitnig
Pitch transitions along the time axis in recording data of an Uguisu's improvisational song.
(FFT 96kHz 8192bins 11.71875Hz/bin)
[0:00:225]
(3199Hz 273/160 fluctuation)
3281Hz 7/4
[0:00:325]
2590Hz 69/50
(2625Hz 7/5)
[0:00:425]
2777Hz 40/27 Maximum peak
(2813Hz 3/2 is the target?)
(5391Hz 2nd harmonic of 23/16)
(5556Hz, which corresponds to the 2nd harmonic of 40/27, is the trough of the peak)
[0:00:525]
1969Hz 21/20
(2027Hz 13/12)
[0:00:63]
2344Hz 5/4 Clear peak
(4688 between 4652 and 4723, 5/4 harmonic)
[0:00:78]
(2438Hz 13/10 Fluctuation)
2496Hz 4/3
(2812Hz Low peak also in 3/2. Resonance?)
(5637Hz Harmonic peak. Strong in 3/2)
[0:00:95]
1887Hz 161/160 Clear peak
(2508Hz Low peak also in 4/3. Reverberation?)
[0:01:06]
(1887Hz 161/160 Low peak. Reverberation?)
(2256.1Hz 77/64 Candidate 2)
2273Hz 40/33?
(2355Hz Pitch aiming for 5/4, Peak 2)
[0:01:08]
2320Hz 161/130
This is also probably a pitch aiming for 5/4
(4676Hz 2nd harmonic of 2338Hz)
(6973Hz 3rd harmonic of 2324Hz)
(11672Hz 5th harmonic of 2334Hz)
[0:01:225]
2402,2414,2426Hz Ratio unspecified, Unstable Peak
(2531Hz 27/20 Slightly lower peak 2)
(2473Hz Around 21/16 Low peak 3)
(4805Hz 2nd harmonic of 2402Hz)
(5496Hz 2nd harmonic of 2748Hz)
[0:01:375]
1852Hz 80/81 Fluctuation of the tonic
(1863Hz 160/161 Fluctuation of the tonic)
[0:01:54]
2344Hz 5/4 Clear peak
(4641,4711 2nd Harmonic of 5/4, 4688 is sandwiched between peaks and becomes a valley)
[0:01:72]
2613,2566 Unstable peak
(2578Hz 11/8, Pitch 1 in the valley)
(2587Hz 69/50, Pitch 2 in the valley)
[0:01:875]
1863Hz 160/161 Fluctuation of the tonic
(Around 2602Hz 69/50 Low peak 2)
[0:02:075]
Around 3000Hz 8/5 Many peaks
(3579Hz 21/11 Peak 2 around here)
[0:02:375]
2227Hz 19/16
(Also a peak around 2168Hz 23/20)
[0:02:575]
Many peaks between 3000-3457
(Roughly speaking, a 7/4 fluctuation?)
[0:02:745]
2555Hz 15/11 Clear peak
[0:03:225]
2918Hz 14/9
[0:03:475]
2250Hz Around 6/5 Plateau-shaped peak
(2227Hz 19/16)
(2256Hz 77/64)
[0:03:626]
2348,2344 Around 5/4 Plateau-shaped peak
(2362Hz 63/50)
[0:03:875]
2576,2543 Around 15/11 Plateau-shaped peak
(2431Hz 27/20)
[0:04:025]
1934Hz 33/32
[0:04:32]
3586Hz 21/11(or 44/23)
3000Hz 8/5
5168Hz 69/25 Highest
[0:04:34]
2918Hz 14/9 2nd peak
3000Hz 8/5 1st peak
[0:04:375]
5191Hz Around 69/25
(5156Hz 11/4)
[0:04:575]
4500Hz 12/5 Maximum peak
3000Hz 8/5 3rd peak
2227Hz Around 19/16 Plateau-shaped 2nd peak
[0:04:7]
2531,2484 4/3 Second peak
5047 Almost 2nd harmonic of 4/3, Maximum peak
[0:04:95]
1535Hz 9/11 Low peak
2930Hz 25/16 2nd peak
4875Hz 2nd harmonic of 13/10
6013Hz almost the 2nd harmonic of 25/16, maximum peak
[0:05]
2578Hz 11/8 clear peak
5168Hz almost the 2nd harmonic of 11/8, maximum peak
[0:05:21]
1863Hz 160/161 clear peak
[0:05:45]
3012Hz around 8/5 2nd peak
4488Hz around 12/5 3rd peak
5906Hz almost the 2nd harmonic of 8/5? Largest Peak
[0:05:75]
(2272.96...Hz 40/33)
2297Hz 1st Peak
(3068.509...Hz 18/11)
3094Hz 5th Peak
4280Hz 2nd peak in the same range
4547Hz 2nd harmonic of 40/33, 2nd peak in the same range
5766Hz 2nd peak in the same range
[0:06:12]
3293Hz Almost 7/4 Clear Peak
[0:06:275]
2555Hz 15/11 Largest Peak
(2461.2Hz 21/16 A plateau-like peak is also present around this area)
5098Hz Almost 2nd harmonic of 15/11, 3rd peak
5754Hz unspecified, 2nd peak
[0:06:4]
2707,2695 23/16 clear peak
5449 Almost 2nd harmonic, similar dB level
[0:06:575]
(1933.8Hz, 33/32, candidate)
1945Hz, 2nd peak
(1968.96Hz, 21/20, candidate)
(2695.6Hz 23/16, Candidate)
2719Hz 4th peak
3891Hz 5th peak
5777Hz 2nd peak in the same range
6141Hz 36/11 Largest peak
[0:07]
2848Hz Unspecified, Largest peak
2953Hz 63/40, Peak in the trough of the peak
3070Hz 18/11 2nd peak
5930Hz Almost the 2nd harmonic of 63/40
[0:07:3]
2168Hz 23/20 1st Peak
2953Hz 63/40 Low peak
3117Hz Unspecified, Low peak
4324,4441,4477: Almost 2nd harmonic of 23/20
5602-6023 Plateau-shaped peak Undeterminable
[0:07:62]
3188Hz 17/10 1st Peak
(3223Hz 55/32 Candidate 2)
5988Hz Near the 2nd harmonic, 2nd peak
9715Hz Near the 3rd harmonic, 5th peak
[0:07:9]
2156Hz 23/20 Clear peak
5812Hz Near the 2nd harmonic of 14/9
[ [0:08:175]
3352Hz 161/90 3354.5...Hz
3281Hz 7/4 is the target
5297-5988 Peak in a plateau shape, impossible to pinpoint
9645Hz Low peak near the 3rd harmonic
[0:08:4]
2262Hz 77/64 Largest peak
(2250Hz Is 6/5 the target?)
4465,4535 In the valley 12/5, 77/32 3rd peak
[0:08:7]
3188Hz 17/10 Largest peak
3281, 3293 7/4 Second peak
[0:09]
2156Hz 23/20 Clear peak
4324Hz Almost 2nd harmonic, Third peak
5742Hz 49/16 2nd peak
[0:09:275]
2379,2391-2566 Plateau-like peak around 4/3
5145-5168 Largest peak around 11/4
[0:09:6]
2484,2543,2578 Around 11/8 Maximum peak
2836Hz Close to 3/2 2nd peak
5719Hz Near the 2nd harmonic of 3/2 Distributed in a plateau-like pattern
[0:09:875]
1875Hz 1/1
1887Hz 161/160 2nd peak
5625Hz 3rd harmonic of 1/1 Maximum peak
43-tone 23-limit Natural Just Intonation
derived on the Improvisation
of an Uguisu, Japanese Bush Warbler
Key in Bb=468.8Hz (A₁=54.9375Hz)
(Bb) 1/1 Tonic
(A#+￬₂₃) 161/160(23/20×7/8) Uguisu's Comma
(A#₁₁) 33/32(11/8×3/4) Undecimal Neutral 2nd
(B+￬) 21/20(7/4×3/5) Septimal Chromatic Semitone
(Cb₁₇) 17/16 Septendecimal Minor 2nd
(B#₁₃) 13/12(13/8×2/3) Tridecimal Semitone
(B#¹¹) 12/11 Undecimal 3/4-Tone
(C-) 10/9 Minor Whole Tone
(C) 9/8 Major Whole Tone
(C+₂₃) 23/20 Uguisu's Whole Tone
(Db₁₉) 19/16 Base-19 Nearly TET Minor 3rd
(C#+) 6/5(8/5×3/4) Just Minor 3rd
(D￬₁₁) 77/64(11/8×7/8) Undecimal Neutral 3rd
(D-) 5/4 Just Major 3rd
(D++￬) 63/50(21/20×6/5) Septimal-Quintal Major 3rd
(Eb₁₃) 13/10 Tridecimal Neutral 4th
(Eb￬) 21/16(21/20×5/4) Septimal Narrow 4th
(Eb) 4/3(9/8×32/27) Perfect 4th
(Fb-¹¹) 15/11(12/11×5/4) Undecimal Augmented 4th
(Fb₁₁) 11/8 Undecimal Neutral 4th
(Eb#--₂₃) 69/50(23/20×6/5) Uguisu's Tritone
(E+￬) 7/5(21/20×4/3) Septimal Tritone
(E-) 45/32(9/8×5/4) Diatonic Tritone
(E₂₃) 23/16(23/20×5/4) Base-23 Tritone
(F-) 40/27(10/9×4/3) Grave 5th
(F) 3/2(9/8×4/3) Perfect 5th
(E#+₂₃) 23/15(23/20×4/3) Base-23 Super 5th
(Gb￬) 14/9(10/9×7/5) Septimal Minor 6th
(F#+￬) 63/40(21/20×3/2) Septimal Semidiminished 5th
(F#--￪) 100/63 Septimal-Quintal Minor 6th
(Gb+) 8/5(6/5×4/3) Just Minor 6th
(F##₁₃) 13/8 Tridecimal Neutral 6th
(Gb#¹¹) 18/11(12/11×3/2) Undecimal 6th
(G) 27/16(9/8×3/2) Pythagorean Major 6th
(G-₁₁) 55/32(11/8×5/4) Undecimal Neutral 6th
(G+₂₃) 69/40(23/20×3/2) Base-23 Neutral 6th
(Ab￬) 7/4 Septimal Harmonic 7th
(G#₁₁) 11/6(11/8×4/3) Undecimal Neutral 7th
(G#+￬￬) 147/80(21/20×7/4) Septimal Neutral 7th
(A-) 15/8(9/8×5/3) Just Major 7th
(G##¹¹￬) 21/11(12/11×7/4) Neutral Major 7th
(G##₂₃) 23/12(23/20×5/3) Base-23 Large Major 7th
(Bb￬) 63/32(9/8×7/4) Septimal Large Major 7th
Maurice Rickard
栄屯
LEGAL VST
根津耕昌 / Kousuke NEZU
KulturKarte
Kevin Seal 🐈
Weener70