This is a very quirky strange piece – it sounds childish and immature in a way. Reminds me in a very abstract way of the sounds of my neighborhood recorded on my dad’s monaural tape recorder recorded and played back at full amplification.
Garritan Personal Orchestra in 22 edo
brass, woodwind, strings, percussion, choir
The technique to compose this piece is to improvise an instrument’s part and then go back as edit as necessary to remove mistakes or correct intonation.
Not done yet – but I can’t move past at this point.
Part of a planned series examining my childhood aural memories.
There are some minimalistic elements to it, but my initial impression reminds me a bit of Stravinsky in terms of how it's constructed. That is Stravinsky juxtaposes short motifs to create a kind of aural kaleidoscope. This isn't true for all of his work of course, but certainly some of them. So even though you're not using the same harmonic language he uses, the structure of the piece reminds me of that.
As I was listening to this I thought to myself it would sound pretty cool with a big band instrumentation with some extended instruments. Kind of in the style of Gil Evans orchestra with oboes, clarinets, tuba, french horns and the like. The saxaphones and woodwinds could do what the strings are currently doing. That's just an idea and you may totally disagree since you conceived the piece after all.
I'm surprised. It sounded ... different. I'm not going to say it sounded bad, because it didn't, nor good, but that's because my ears are definitely not accustomed to this subdivision of the octave. I can agree on the Stravinsky reference: there is some similarity. Can you explain why you chose 22 edo to do this piece? Was it out of curiosity, or is there a deeper thought? Anyway, it's interesting, and was well worth the audition. Thanks.
22 edo is indeed equal divisions of an octave. Sorry - I've been so used to traveling in microtonal circles I forgot to explain.
Now... why 22 edo?
Well, because I like the way it sounds is the real answer.
Is it better than 12 edo? Depends what you are doing I guess.
I think the best answer is: tuning is a choice like anything else such as tempo, key, timbre, etc.
A lot of other cultures use non-12edo tunings (excluding westernized pop though even there some melodic elements can be used).
The big challenge with non-12 edo tunings is harmony. Obviously there isn't much in the way of "common practice" out there and most cultures never developed any functional harmony at all. (I'm hedging my bets because I read somewhere there was some Chinese harmonic rules somewhere.)