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RE: Revised 12-Tone Composition

I guess you would call them samples. I just purchased Finale 2005, which
has this thing called Sound Fonts. I used the default Finale sound font,
but I can use literally thousands of free sound fonts available on the
web. I guess they are made out of samples, and then packaged up as a
.sf2 files. ???  Finale normally uses your sound-card for sounds (which
can be quite bad if you have a stock sound card), but you can over-ride
this and use any sound font.  The improvement is tremendous.  I am just
now tapping into the capabilitiies of Finale 2005 and the sound fonts.
I can write whole scores now and use realistic classical instrument


-----Original Message-----
From: Alan Kroeger [mailto:nospam@akroeger.com] 
Sent: Sunday, October 31, 2004 9:17 AM
To: Loopers-Delight@loopers-delight.com
Subject: RE: Revised 12-Tone Composition

I love it man, nice work are the string & piano parts all samples?

-----Original Message-----
From: Krispen Hartung [mailto:info@krispenhartung.com] 
Sent: Sunday, October 31, 2004 1:19 AM
To: Loopers-Delight@loopers-delight.com
Subject: Revised 12-Tone Composition

Hello all -

I just completed my 12-Tone composition, "Entanglement". Most of my
original notes below still apply, except this new version has added
instrumentation: violins accompanying the piano (using Finale 2005 and
new sound fonts), electric bass for some extra low end, and live
electric guitar parts (melody and solo). Most of the material you've
heard from me up to this point is with the acoustic guitar. On this
track, I'm using my PRS McCarty hollow-body electric and a Line 6 POD XT
Pro rack mount unit, which has some excellent amp/mic/speaker modules,
etc. I'm using a Matchless amp/2X12 cab configuration, plus an octave



Let me know what you think! What does it remind you of? (players, songs,

Krispen Hartung


-----Original Message-----

Okay, I rolled up my sleeves and did some 12 tone work.  I call this
composition "Entanglement", named after one of my favorite books on
quantum physics, by Amir D. Aczel.   Call it an entanglement of Webern
and hip hop. 

Roger, let me know if this fits what you had in mind.  I still plan to
add a guitar solo (consistent with the primary row) over the middle
section of this song, which will complete the tune.  Afterall, I have to
add a human, flesh and blood element to this.

Here's how I wrote the song:

First, my primary row is A, F, D, F#, Eb, G, C, C#, E, Bb, Ab, B.  This
isn't random, rather I experimented with the 12 tones until I found a
sequence that felt good to me. 

Second, I used the online program to generate my matrix of permutations
(prime, inversion, retrograde, and retrograde inversion):

Third, I used my notation software, Finale, to compose the song using
the matrix of rows.  A link to the sheet music and the sound clip is
below.  In sequence, I used the primary row, the first inversion row,
the second primary row, the second inversion row, the twelfth retrograde
inversion row, the 12th retrograde row, the first through eleventh
retrograde rows, and finally the third primary row.  I some cases I
wrote in single note sequence; in other cases, I used the rows more
quickly with tone clusters.  

Fourth, I used Acid and some samples I purchased from the SonicFoundry
web site to create some hip groove beats to add to the mix. 

Fifth, I integrated and mastered all of the above with ProTools LE and
my Digidesign mBox.  I repeated a few sections, so the sheet music is
only the core composition, with some parts repeated in the actual sound

Sound clip and sheet music:
(caution - this clip has some serious low end in it)

Roger, thanks for getting me off my butt and motivating me to do this.


Krispen Hartung