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'The Moors': fretless guitar just intonation 90's trance rock (videos)



Quoting guitarist Scott Dakota's posts in facebook xenharmonic alliance 2 group:
"Greetings, Xen cartographers and explorers - I'm new-ish on this group but not new to Xen music making. A hello and well-met to share - I was half of the overtly non-12tet trance rock duo The Moors, out of Boston in the 90's. By the final version of the band, the music was framed around wide-range fretless guitar with loose 72edo assisted thinking to do organic just intonation along with open pitch-continuum expression. The songs were all arranged around live looping to build the layers and textures, and no keyboards, synths, or basses were used. Everything here is fretless guitar, tuned drum machine, and vocals. The only thing missing in the live versions were the vocal harmonies, and the performance energy more than made up for that. The pagan/goth aspects of that band were much more vivid for the audience to get a handle on than the microtonal aspects, so the press and PR was usually about the spiritual and darkwave elements. But it is interesting to note that a non-12tet band sold albums pretty well by indie standards, had international distribution and a cult fan base, and most people didn't notice it wasn't 12tet. They just liked the feel of it. --- Side note: in this video, the stage shots are me and the singer, the woods shots are two actors. --- Anyway, this isn't angular crazy bleeding edge Xen, but it is a very focused Xen for this context. Hope you enjoy, thank you!"

"Mostly 5 limit with various modes and lambdoma/diamond things polysuperimposed. There are some moments in the solos that use 7/4 and 7/6 briefly for that blunt color, but are ornamental, not structural. On those fretlesses I use everything up through 13 often enough, but The Moors material stayed somewhat coordinated with the singer's woodwinds and flutes, which could only be bent so far."

"What functions as bass is the low range of the "wide range fretless guitar", which covers bass through guitar range. It's tuned low to high starting from Eb a half step below bass guitar low E, up in open 5ths. Eb Bb F C G D. The idea being, with careful part writing and some looping assist, I can cover most of the octaves needed for rock orchestration."


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