Skye Løfvander's Videos (Overtone Music Network) - Overtone Music Network 2019-08-24T21:57:14Z https://www.overtone.cc/video/video/listForContributor?screenName=3b6aery26pid7&rss=yes&xn_auth=no Simple Sounds Live in Emanuel Vigeland's Museum tag:www.overtone.cc,2018-01-02:884327:Video:192184 2018-01-02T00:08:07.221Z Skye Løfvander https://www.overtone.cc/profile/SkyeLoefvander Live recording (handheld Zoom Q2n). No sound editing. From concert with Simple Sounds. Anders Nordin: Kyotaku (Japanese zen bamboo flute) and Skye Løfvander: Swarsangam and vocals. <a href="http://www.simplesounds.dk">http://www.simplesounds.dk</a><br /> The acoustics of Emanuel Vigeland's Museum is extraordinary and so are the aesthetics. The two concerts took place on Saturday 21st of October 2017. Live recording (handheld Zoom Q2n). No sound editing. From concert with Simple Sounds. Anders Nordin: Kyotaku (Japanese zen bamboo flute) and Skye Løfvander: Swarsangam and vocals. <a href="http://www.simplesounds.dk">http://www.simplesounds.dk</a><br /> The acoustics of Emanuel Vigeland's Museum is extraordinary and so are the aesthetics. The two concerts took place on Saturday 21st of October 2017. Zen Bite tag:www.overtone.cc,2017-10-29:884327:Video:189579 2017-10-29T10:55:59.406Z Skye Løfvander https://www.overtone.cc/profile/SkyeLoefvander Simple Sounds: Anders Nordin: Kyotaku &amp; Skye Løfvander: Overtone Singing + Swarsangam.<br /> <br /> We are preparing a release. This excerpt is from the first studio day. One take, unedited. Vi forbereder en udgivelse. Uddraget her er fra første dag i studiet. Én optagelse, uredigeret. Recording: Flemming Hinnerskov. Simple Sounds: Anders Nordin: Kyotaku &amp; Skye Løfvander: Overtone Singing + Swarsangam.<br /> <br /> We are preparing a release. This excerpt is from the first studio day. One take, unedited. Vi forbereder en udgivelse. Uddraget her er fra første dag i studiet. Én optagelse, uredigeret. Recording: Flemming Hinnerskov. Flageolet Tones - String Harmonics tag:www.overtone.cc,2017-05-07:884327:Video:186523 2017-05-07T22:15:43.552Z Skye Løfvander https://www.overtone.cc/profile/SkyeLoefvander <a href="https://www.overtone.cc/video/flageolet-tones-string-harmonics"><br /> <img alt="Thumbnail" height="180" src="https://storage.ning.com/topology/rest/1.0/file/get/1940743941?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>I am not an instrumentalist!<br></br> String harmonics can be played much more brightly than in this video but I produced it in order to clarify that the harmonics ararise from the sweet spots where the string is divided by an integer ratio. If the string is touched gently at these points a node will have its place. The fundamental here is an E of about 84 Hz but that is not so… <a href="https://www.overtone.cc/video/flageolet-tones-string-harmonics"><br /> <img src="https://storage.ning.com/topology/rest/1.0/file/get/1940743941?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />I am not an instrumentalist!<br /> String harmonics can be played much more brightly than in this video but I produced it in order to clarify that the harmonics ararise from the sweet spots where the string is divided by an integer ratio. If the string is touched gently at these points a node will have its place. The fundamental here is an E of about 84 Hz but that is not so important.<br /> <br /> The colour code (which does not need to be interpreted symbolically) is as follows:<br /> <br /> White:<br /> Octaves, partials # 2, 4 and 8, corresponding to 1/2; 1/4 and 1/8 of the string length respectively and to 2; 4 and 8 times the fundamental frequency.<br /> <br /> Red:<br /> Perfect fifths, partials # 3 and 6, corresponding to 1/3 and 1/6 of the string length respectively and to 3 and 6 times the fundamental frequency.<br /> <br /> Yellow:<br /> Just Major Third, partial # 5, corresponding to 2/5 and 1/5 of the string length and to 5 times the fundamental frequency.<br /> <br /> Blue:<br /> Septimal Minor Seventh, partial # 7, corresponding to 1/7 of the string length and to 7 times the fundamental frequency. Hosoo demonstrates Mongolian throat singing (German/Danish) tag:www.overtone.cc,2016-10-30:884327:Video:184677 2016-10-30T13:54:22.492Z Skye Løfvander https://www.overtone.cc/profile/SkyeLoefvander <a href="https://www.overtone.cc/video/hosoo-demonstrerer-strubesangsteknik-p-klaverfabrikken"><br /> <img alt="Thumbnail" height="180" src="https://storage.ning.com/topology/rest/1.0/file/get/1940741383?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br>Tv Skævinge/ Anouschka Andersen.<br></br> 03:06 - Karkhiraa (kargyraa)<br></br> 04:38 - Chylandyk<br></br> 05:28 - Khamryn (dumchuktaar)<br></br> 06:14 - Khorekteer ('chest voice')<br></br> 07:17 - Sygyt (Tuvan term)<br></br> 07:59 -… <a href="https://www.overtone.cc/video/hosoo-demonstrerer-strubesangsteknik-p-klaverfabrikken"><br /> <img src="https://storage.ning.com/topology/rest/1.0/file/get/1940741383?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br />Tv Skævinge/ Anouschka Andersen.<br /> 03:06 - Karkhiraa (kargyraa)<br /> 04:38 - Chylandyk<br /> 05:28 - Khamryn (dumchuktaar)<br /> 06:14 - Khorekteer ('chest voice')<br /> 07:17 - Sygyt (Tuvan term)<br /> 07:59 - ? The Syntonic Comma tag:www.overtone.cc,2014-11-18:884327:Video:169673 2014-11-18T11:27:29.340Z Skye Løfvander https://www.overtone.cc/profile/SkyeLoefvander <a href="https://www.overtone.cc/video/the-syntonic-comma-1"><br /> <img alt="Thumbnail" height="180" src="https://storage.ning.com/topology/rest/1.0/file/get/1940738883?profile=original&amp;width=240&amp;height=180" width="240"></img><br /> </a> <br></br><iframe frameborder="0" height="270" src="https://www.youtube.com/embed/3AXQMvN6CQs?feature=oembed&amp;wmode=opaque" width="480"></iframe> <br></br> Just Major Third: Ratio 5:4, 386.3 cents, 115.9 degrees<br></br> Pythagorean major third: Ratio 81:64, 407.8 cents, 122.3 degrees<br></br> 12-TET Major third: Ratio cubic root of 2, 400 cents, 120 degrees<br></br> <br></br> Apart from the octave the two… <a href="https://www.overtone.cc/video/the-syntonic-comma-1"><br /> <img src="https://storage.ning.com/topology/rest/1.0/file/get/1940738883?profile=original&amp;width=240&amp;height=180" width="240" height="180" alt="Thumbnail" /><br /> </a><br /><iframe width="480" height="270" src="https://www.youtube.com/embed/3AXQMvN6CQs?feature=oembed&amp;wmode=opaque" frameborder="0"></iframe> <br /> Just Major Third: Ratio 5:4, 386.3 cents, 115.9 degrees<br /> Pythagorean major third: Ratio 81:64, 407.8 cents, 122.3 degrees<br /> 12-TET Major third: Ratio cubic root of 2, 400 cents, 120 degrees<br /> <br /> Apart from the octave the two strongest interval functions are the perfect fifth (and its inverse, the perfect fourth) and the major third. Mathematically, these are the reflections of the first three prime number in the harmonic series. That is why the so-called Just Intonation builds upon the octave, factor 2; the perfect fifth, factor 3 and the just major third, factor 5.<br /> <br /> The inherent structure that gives rise to the 12 semitones, however, is the so-called Pythagorean Tuning, which is based upon factor 2, the octave and factor 3, the perfect fifth. 12 consecutive fifths approximately correspond to 7 consecutive octaves. However, there is a difference between the result of the generation of fifths and that of the octaves as<br /> (3/2) to the power of 12 = 129.746, while 2 to the power of 7 = 128th<br /> This difference is called the Pythagorean comma and has been described in this article: <a href="http://kortlink.dk/f38y">http://kortlink.dk/f38y</a><br /> <br /> The two tonal systems – Just Intonation and Pythagorean Tuning – have been widely used until the Renaissance.<br /> The Just Major Third must be considered as the ear's reference for purity, since, as indicated it is found directly in the harmonic series as partial #5 (= 80/16).<br /> In Pythagorean Tuning the major third is generated by stacking four perfect fifth intervals:<br /> (3/2) x (3/2) x (3/2) x (3/2) = 81/16.<br /> <br /> The ratio between the two versions of the major third is therefore 81:80=1.0125, so there is a discrepancy between the two tones at 1.25%, or 21.5 cents, as it is called in music theory terms. The 12-TET semitone is 100 cents, so the deviation is somewhere in between 1/4 and 1/5 semitone. It is about the same amount of impurity, we find in the Pythagorean Comma (23.46 cents).<br /> <br /> In practical terms this means that the Pythagorean Tuning will be unsuitable for polyphonic music containing third intervals. This is the primary reason that the musicians of the Renaissance brought just tuning into play, but were faced with other problems as the Just Intonation system doesn't sound pure in keys of some distance from the chosen starting point.<br /> <br /> These issues formed the basis of experiments with musical temperaments, which in particular flourished in large numbers in the Baroque period, and where we have ended up with total domination of equal temperament/ 12-TET (which was not developed in the Baroque period).<br /> <br /> This development has many advantages, primarily the possibility to seamlessly modulate from one key to another, but it has not been a developement without costs. The thirds and sixths of modern keyboards are in the vicinity of 1/7 semitone off, almost as false as the Pythagorean Major Thirds, which were deemed useless by Renaissance musicians.<br /> <br /> We have become accustomed to musical impurity or, in other words we have lost the sense of purity.