Questions and Answers from Furman University

Michael Vick has been teaching a class that I wish I could have taken called Tuning Systems & the Aural Experience at Furman University in South Carolina. He asked if his students could send me questions which I was pleased to do. Here is the interchange.

Marielle Lemasters - When you were young, were you interested in tuning music or was it an interest that grew on you?

Partch was the only real tuning-oriented music going on at the time and it was seeing his US Highball live more than his recordings that really moved me with the possibilities. I don’t think I even knew there was such a variable as ‘tuning’ before him. 

Scott Crane - How much of an influence has Harry Partch played in your musical career?

Too much might be the truest answer. For years Partch was given a bad rap and anyone connected with him also. So I took a lot of that flak even when it didn’t apply to me, and maybe still do. This is not to say I like and agree with him on everything. Perhaps the most important aspect of his music is it being transcultural. He was a big step away from both European art music and the more urbanized academic music of the US at the time. This is what led to my own concept of a meta-culture of Anaphoria Island, a “place” where such music can occur, drawing upon the practices around the world.

         I tend to like his instrumental works more. Delusion of the Fury is a piece in which I never seem to fail to hear something new. I don’t like the video because it was a rushed and very fragmented job that wasn’t the makers’ fault, so I just listen to the recording. Castor and Pollux still impresses me with its form of a set of 3 duets played one after another then altogether, and then this pattern is repeated again. Daphne of the Dunes has a complexity, but still remains immediate and enjoyable.

         For me, growing up around the film industry, Partch was a good fit because of his interest in music as a theatrical endeavor. His use of the visual element inspired 10 years working with silent film with live music and now even longer with shadow puppets. The latter is my favorite activity for it allows me to do music, puppet operation and design, writing, lighting, and just organizing all together. It is rewarding as it allows many aspects of my self to exist and be given expression. This is a reflection of Partch’s ideas of allowing the total human being to find expression. It parallels the theatre anthropology of Eugenio Barba, and the polytheistic concept of the soul in both Jung and James Hillman. So his influence exceeds just music or at least was an antenna of what was to come. Rock music is as much video as audio now, something he foresaw.

Joanna Brady - Which is your favorite tuning system to perform/compose in? Why?

Originally it was Erv Wilson’s D’Allesandro tuning. It contains within it a structure called the Eikosany that is an uncentered analog to Partch’s Diamond. It is a good tuning to have consonant chord structures without a tonic that at the time was of interest to me. This was the first tuning I built a whole ensemble around. There was much to think about and explore too. The tuning is like a 12 dimensional crystal that would look like a donut from 12 different points, all with a basic structure of 20 tones. Such ways of thinking about music are not really possible in 12 ET so it opens up one’s mind to possibilities. The version I used went up to 36 pitches, but I made some instruments that only had a 22 tone subset, but they all worked together. It also has all types of scales it wasn’t designed to have being so condensed that made it almost inexhaustible in what music I could do on it. I worked with this tuning for 15 years. I still highly recommend it as it really is a world all its own.

The second tuning that inspired me enough to also make an ensemble of instruments was Wilson’s Meta Slendro. With the way this tuning is put together it is almost impossible to make it sound very dissonant past a certain point. It has only 12 notes, though very different from 12 equal, so I could retune many existing instruments to it. This saved me a lot of work and allowed me to notate it traditionally for mallet players, and also allowed for more compact instruments. This tuning I have been using the same amount of time as the former, which might explain how I am slowly working toward another, an ensemble of Wilson’s Meta-Mavila. This one is kind of a complement of Meta Slendro in that the two use intervals that the other doesn’t have. For instance Meta Mavila is saturated with neutral thirds while Meta Slendro has none; in turn we find large whole tones bigger than the piano with the latter but only smaller ones with Meta Mavila. While some people like to use many different tunings, I prefer to really investigate a few, but as deeply as possible.

Michela Bologna - For the Ensemble Offspring piece, you used a microtonal tuning system called Centaur. What is different about this system versus other microtonal systems?

It works as a very good introduction to working in just intonation as others have found. There was a guitarist Rod Poole who first tuned it on his guitar to then develop his own 17 and 22 tone scale. He would always tell me it was for him the best 12 tone just scale he could find. So I think it was one of those times I might have done something better than what I had planned.

I came up with the Centaur scale in 1979 in order to tune a reed organ - the only sustain instrument I had at the time - for ear training in 7-limit intervals. It preserved the 12-tone context since the reeds could only be retuned so much. It is quite conservative in that regard but 10 tones also overlapped a very complex 36 tone 11-limit tuning I had in wood and metal, while the organ could exist independently as a complete character.

For the Ensemble Offspring project the inventor of the clarini had scales in mine and we were pleased that two of these were readily found within Centaur. It was difficult that it required two clarinis to play all of the Centaur pitches that I think the composers dealt with superbly yet still limited what could be done. Being a beginning, it is something that will develop. The pieces came together more in the recordings made right after this which will come out some time next year. It is my first and only ensemble piece in a somewhat classical vein.

I hadn’t used the tuning since the 80’s when I used it with a retuned hammer dulcimer and films when I played in punk clubs in Los Angeles. Microtones at the time were shunned by those in academia whereas that environment I found accepting and appreciative more experimental and more fun.

Joanna Brady - What is your favorite instrument that you've ever built? Why?

The first original instrument I made was out of brass tubing and it had the 36 tone tuning I mentioned earlier. It was damaged and lost during the Northridge earthquake unfortunately. It has a really unique sound but brass tubing is not made the same way as it used to be so I was never able to replace that instrument.

         Partch’s book as well of some other people scared me about making bass instruments, so when I made my first set of Bass Meru Bars and it worked so well, I was really excited for years. I had a hard time controlling myself from just playing as many and as fast as I could to make it sound like thunder. This was after not having any bass instrument at all for 10 years. I still enjoy that I have an instrument in that range.

Michela Bologna - What instrument, in your opinion, is able to produce the broadest range of notes when using microtonal tuning system?

If we were to consider electronics an option, I would say the Starr Lab keyboard controller designed by Erv Wilson. While it is just a MIDI controller, it makes possible in real time what software can do but we lack the interface to easily do so. It is really this generalized keyboard that allows us to control the machines in a more far-reaching way. There are cheaper and less developed compromises, and they are just that, compromises.

A keyboard in general (electronic or acoustic) is ideal for a single instrument with the biggest range possible giving one person the ability to play many different parts.

Considering only acoustic instruments I take what Lou Harrison learned from the weakness of Partch’s instruments. It is ‘ensembles’ that are needed that can work together, more than single instruments that might not do well besides others. Like Harrison, I like tuned metal bars as they remain very stable in that tuning. These easily become guides for less stable instruments such as strings or winds to tune to, which in turn give us bends and inflections not possible with metal or wood.

I have to end this with saying I am still concerned with people making music together and putting their full means and bodies into it. This broadens the range of human experience. This is the range I am interested in. Partch gave us this.

Marielle Lemasters - Where was your favorite place where you displayed your instruments and music?

When I lived in Los Angeles, there was a couple, Susanna Dadd and James Griffith, who would come to my shadow plays. They had this steep backyard and decided to turn it into an amphitheater that they called the Folly Bowl. It was this beautiful stepped garden where for 3 years I presented shadow work. They couldn’t have been more supportive and said when they made it they had my work in mind which was quite humbling. It is always a treat to play outside in nature.

Resonant spaces are great too. Recently I played at a place called the Casula Powerhouse. I really liked how the sound carried there even though it was a big venue.

Marielle Lemasters - Where do you find your most inspiration for creating music?

The sounds of my instruments most of all motivate me to make music. Besides that having a show coming up and knowing that one is going to be heard is always an inspiration. It is more than a deadline and more sharing where you are at the moment. Even if it is small, it conjures enthusiasm as I imagine the space and the context. This makes me think differently about what I will perform. So I try to play as much as possible and in different contexts. Even playing an older piece, I adapt it to the time and place.

Michela Bologna - What genre of music (classical, blues, etc.) do you prefer to play in when using microtonal tuning? 

Like just about everyone now, my musical taste has never been limited to any one genre or even a few.

I think of microtonality in turn might or could be a meta-genre all in itself with each tuning implying subgenres and in turn, all of these still at some beginning stage. At least this is what I want for it.

If one is sensitive to the stresses and pulls of the new tones available it can lead to new forms, structures and ways of using tones. I never would have done the music I do if it were not for the tunings. I just make music I think is beautiful using beautiful sounds I didn’t have access to before.

If I had to place it in the genre, I think of it as extended world music as that is what I listen to the most, and it also provides the greatest resources of scales and how to use them.         

Michela Bologna - Do you ever take previously existing music and play it using microtonality?

This can be a funny and quick way to get a feel for a new tuning. I can’t say I like playing preexisting music except in passing. I am more interested in finding out what a tuning allows me to do that those musical styles don’t. One does like to play with associations though and it can and does happen especially if you are working with film or theater. Some tunings make it impossible.

Since I am working with tunings that are not equal-spaced tones, this means the transpositions of melodies and harmonies into different keys vary the intervals and feel of them so I can play with my own preexisting ideas without going back.

What we have before us though are, new structural interactions, new reactions of sounds in time, and yes importantly new emotions not possible before. I think that music does more than express emotion, it actually makes them possible as often it is the only place I experience them.

Marielle Lemasters - Do you wish your type of music was more widely understood?

I have never had any problem with the public or even artists in other fields. It is usually other music people, whether players or critics or even other microtonalists, who bring to the music the most preconceived barriers one has to break though.

Of course I don’t or ever will play in big stadiums but I am not interested in that anyway. I prefer smaller places where I don’t have to be amplified and that I can mix in with the crowd and get a feel of the energy of the people there and talk with them afterwards. I like to play on a floor rather than a stage when possible since I dislike that barrier that much. Often I will invite people on stage afterwards to get a closer look at the instruments. In clubs I would often play in the middle of the room.

Marielle Lemasters - Do you hear everyday noises differently than the typical person, and how does that affect your music?

I did not start with the best ears but working in tuning has sharpened my ears to smaller fluctuations of pitch than even most musicians, it seems. I suspect that this might give me a better perception of noise or that I hear different things in it than those who obsess over it. I am not sure. I am just not that enamored with everyday noises compared to the acoustical phenomena I can play with in different tunings.

It has given me a greater understanding of music of other cultures - how they develop shades of pitches in the way western music develops harmonies and rhythm. When a culture cannot afford the luxuries of even a 12 tone system, they find ways of developing the music by what they have on hand, intonation and ornament are two such examples. Western music ignores many of these variants and quickly label it underdeveloped or inferior when it is often just a matter of where the focus is put. It is the superior stance of colonialism that still needs to be taken back to a better perspective. So I think I hear those cultures not using western instruments and scales differently than most people.

Scott Crane - What is your take on concentrating on harmony versus dissonance? Is it possible to have both?

One really wants both and I have to say I don’t really think about either anymore. I tend to think about melody and sonority. The tunings I work with usually are designed to have a certain spectrum of equal tension throughout so I can be less concerned with it. I think there is enough tense music in the world there is no reason for me to do more. I don’t object to it, but don’t see it being useful when people can get that elsewhere. Myself as an artist I don’t have to prove I can do it either. Doing things to ‘impress’ others seems a pretty shallow motivation. What I do has to be meaningful to me, which I assume might be to others, and if not, at least I have gained something from it myself.

Scott Crane - Have you ever thought to produce a piece that is in a different tuning system, rather than 12-TET, that sounded indecipherable to those who are not able to distinguish a difference between closely sounding pitches?

I have found one has to do very little in any direction to make music indecipherable. It is hard enough for people to catch things out in the open. Even in painting, in which it is easier perhaps to catch things, people miss certain details, so with sound it is even harder to get people to even hear what might be obvious. I like the conceptual idea though and perhaps those with different ears already hear different things.

Meeting Mike Gibbs

Mike Gibbs at the Outpost

It was a real pleasure to meet Mike Gibbs last year when he came and conducted some of his composition at the Kinetic Jazz Festival. I am sorry i am going to miss him there again here this year but those locally i recommend meeting a truly unique artist. The first time i saw his name was on the Gary Burton Album Throb, later i noticed he was doing the arrangements for the Mahavishnu Orchestra when it grew in size to be called such. Later I see him arranging strings on Joni Mitchell's Paprika Plains. This in itself is a pretty varied output. but if you look at his discography there is even more. The list goes on. impressive versatility with a wonderful spirit.

Additions To The Augusto Novaro Society

The Minovar of Augusto Novaro

Here is a picture of the Minovar. An instrument designed and possibly built by Norvaro based on his experiments in spiral shaped bodies that he also used on guitars. On the web page of the Society is also a passport picture of Novaro from society member John Schneider. This is  from a collection of files he obtained from the Guggenheim Foundation. We are looking forward to see what treasures these documents hold for us. In the meantime more pics of the violin can be seen here

A tuning for Satie's Vexations

Notes on a tuning for Satie’s VEXATIONS
I was asked to provide a tuning along with others to be included in a shorten performance of Satie's piece as apart of Microfest 2012.
Here is the final tuning

I decided to take a conservative approach to the problem. I thought I might rely on some historical model of music like Vexations that involves repeats over a long period of time. The one that came to mind was Pibroch, a style of bagpipe playing. The bagpipe tuning is quite impressive. It avoids simple ratios of most consonances leaving any repose in the melody to still be propelled forward by ratios of mild acoustical dissonance. The tuning also has some proportional triads. These type of triads have difference tones that support notes in the chord or scale which provides an overall unity, yet can depending on its complexity, can suspend the music in the air for undetermined periods of time without really resolving yet still reinforcing the tones being used. This is used to great effect with melodies repeated for hours.
Vexations with its preponderance of diminished triads made me look for the simplest proportional triad of this shape. The simplest one I could find was one of E. Wilson’s recurrent sequences A+C=F which he labeled as Meru 8. This eventially will converge on a chain of minor thirds 306.75991106 cents in size but there is a fair bit of oscillating back and forth that gives sometimes for some nice variation.
If you are unfamiliar with these types of scales look here



To seed this formula, I took the Lucas Series that Satie was fond of. This series is like the Fibonacci series but starts with 1 and 3 instead of 1 and 2 and adds them together and continues this process with the answer and the last number added [1+3=4, 3+4=7, 4+7=11, etc.]. Using the 1-3-4-7-11 to seed the sequence that is then treated as harmonics, the series was continued until it converged to within a cent, and enough to place the 21 different pitches in a consistent order one finds notated in the score. Much to my surprise the first place where I could find this started on the 43,184th harmonic which effortlessly unfolded like a snail shell up to the 73,676,000th harmonic (odd harmonics happen in between to prevent a simpler reduction).
Here is the sequence
1............[A+
3
4 ............C=
7
11
5............. F]
10
15
12 You can see here that at the beginning of the pattern you can have a lower number occur. this is why you have to take it so high
21
20
22
36
32
43
56
54
79
88
97
135
142
176
223
239
311
365
415
534
604
726
899
1019
1260
1503
1745
2159
2522
3005
3662
4267
5164
6184
7272
8826
10451
12436
15010
17723
21262
25461
30159
36272
43184 THE SCALE STARTS HERE=and we take it out to 43 places to close out our cycles of
51421
61733
73343
87693
104917
124764
149426
178260
212457
254343
303024
361883
432603
515481
616226
735627
877364
1048829
1251108
1493590
1784456
2128472
2542419
3035564
3622062
4326875
5164036
6164481
7362439
8786098
10491356
12526475
14950579
17853795
21312573
30380270
36263152
43295730
51692843
61705087
73676000
This puts the fundamental at a little over 3.5 kilometers in length which tempted me to proceed up high up the harmonic series until I reach a fundamental distance equal to the time sounds travel during the length of the performance, but like I said, I decided to take a conservative approach for the moment.
Even with this sequence we can see in the diagram below that besides the 43 tone scale we ended up using where the 11 unit is equal to our minor third generator. we could have also used all those scales from the 6 units of a 23 up through a 27, 31, 35, and 39 tone scale with the numerator being the number of units steps the minor third. The 43 tone scale used ends up being about .216 away from equal.

Commerical for a Western

Here is my one composition for Chamber Orchestra.
http://anaphoria.com/westerncommercial.mp3 The recording is from 1986 and appeared on a concert i put together at the Japan American Theater for 18 three minute works. Since i had what i considered a more important show. The premiere of my 3 projector film Long Gunn but not Forgotten I though well 3 minutes is like an advertisement anyway so i decided to do one for this upcoming show. I enjoy the fact that i was able to use a chamber Orchestra to advertise a concert on my self-made instruments. The Narrator in John Callahan who also appeared as the Sheriff in the film. He did an amazing job even though he didn't have had a chance to rehearse with the Orchestra before hand. Don Crockett conducted.

Zephyros

Zephyros for solo meta-slendro vibraphone is one of my favorite pieces. Ini.Itu was kind enough to issue it on Vinyl as the title track of
Anaphoria: Footpaths and Trade Routes
which has been its sole place of availability. I sadly is approaching going out of print so I am providing an mp3.

The Pentatonic Family pt.2/expanded

Here is a paper where we return to look at another cycle of Pentatonics within a 12 tone context in order for others to apply to the scale and subsets of ones choice. It is better to start with part one if missed it here.
I have revised this from the other day.

The Nature of Music is as much Inner as Outer

I really become more and more interested in what human beings can do musically. It is an inner reality than comes not from a mere imitating of environmental nature, yet is nothing but an expression of nature itself that we carry and comes out all by itself in a way we still do not understand.

What comes out of humans is such a wider variety than any one person or culture could ever imagine. Look at the different ways people make music, each with its own development, than often is compensatory to how it is used in other cultures. It becomes extremely difficult to reduce music to universal qualities that are common to all. At best we can find some that apply to most, yet in particular, these can vary to a degree that is equally complex.

I prefer to pursuit and defend a path which i see more as going  deeper 'into' the human as opposed to only 'outside' of it.   What is this 'musical nature" of human beings that some cast  as "inferior' to nature as if it has some original sin that must be suppressed. There is something 'puritanical' here.Might this definition of nature be one that only gives it masculine traits and characters, a suppression of all  the hidden and truly mysterious workings of nature in places outside the microscope. In the meanwhile music comes out of human beings like breath.

There is much in nature which is beautiful and listenable, and needs to be preserved. This though is as true inwardly than outwardly. The nature we find in the outer world though does not develop although it can be destroyed as is going on world wide [we all know that]. The inner nature though is one that grows and changes in unexpected ways , albeit slowly at times, but this requires a nourishment, more often in it being given expression more than it imitating an outer world. When it imitates it is more often than not  inclined toward the imitation of other humans. Even the interest in the environment, might be to big extent, imitating what others humans are doing. Within us too are the plants and varied species that we might water, the ones that grow inside of us and seem to potentially grow without limit. What nature implanted in us, might be so that in a way she might hear herself in a way she can't hear otherwise.

Bali again

Some time back we went to a concert in Sydney of the Indonesian National Orchestra. The Orchestra is headed by the composer Franki Raden, who has taken on the almost impossible task of creating a music out of the diverse islands of Indonesia. I do think he has managed to do what  he has done without homogenizing the forces he is dealing with, and yes it is still a work in progress.

Indonesia i think is a brave country to try in general the combining of all these different islands into one nation. If the world did become one, hopefully not under the banking interest, but in the interest of more humanitarian cooperation, it might be a good testing ground. But at this concert they had a raffle and right before they picked i turned to my wife who had entered and said' i guess we are going to Bali again" and sure enough they called her name although she wasn't sure at first.

We met Franki Raden for the first time unrelated to this during intermission and found out about the festival he was putting together in Bali IMEX [Indonesian Music Expo] so we both felt it was some sign to go there at that time. As politics is what it is , there was pressure for the gov't sponsors to put on many acts they thought fit and it was probably the last night that best represented Raden's vision. There was a group from Sulawesi that performed and after they warmed up, one realized that one was dealing with ritual more than just music. It was over powering. Greg Schiemer composed a work for swinging i phones holding sustain pitches that seem to fit in an uncanny way and this group joined him and it had to be one of the greatest combination of opposite technologies i have seen.

Most of our time there was spent just outside Ubud in Sebali in the company of Gusti Ngurah Suaratana who lead us to ceremonies, some on the street,  and was responsible for having our marriage blessed in a ceremony and lead us to a remote rice field where he had built a small structure. While there, his wife appeared with coffee and pastries that surprised us that she even got there at the same time. Gusti spoke a little English and Japanese and much of our communication over many long hours involved gesture that really seem to work. He was an instant friend if not member of a family as he put it. He in turn was good friends with Kris, an artist and historical prince of Ubud, who partooked of our blessing in between his heavy schedule of mediating problems in the region, all without pay. He too was a greatly inspired person who had studied abroad in order to understand his own culture and had even lived with an aboriginal family for 6 months eating everything thing but the large worms which ws just beyond of what he might do.

From Kris we learned that there is a law that every rice farmer in Bali has a equal right and access to water and that there are people put in charge to see this is in fact what happens. Being in the single rice field we were in was already a lesson on just how complex this can be and still i cannot imagine how it was done, much less on an island wide level. Bali seemed more civilized than elsewhere.

Here is a recording next door to where Kris lives of some hocketing frogs in the rain.
http://anaphoria.com/froghockets.mp3

A Resonator Mystery

Over the years i have always been amazed by what we don't know , especially in an area where it seems we have advanced so far beyond, it would have be long figured out long ago.
 No such luck in many cases.
 While they are figuring out what they did wrong at CERN with their faster than light results, i have stumbled into something that should have long ago been dealt with.

While in the process of tuning up some instruments in a new tuning, i had some tubes that are to become resonators that i decided to play with a bit  on a set of reeds tuned to the same tuning. Terumi suggested playing with open resonators so i took the caps off and found i could augment the sound of a reed and use my hand to open and close to play with the sound. The problem was that the resonators were resonating a pitch a whole tone or more lower than what all the the theoretical measurements have been telling me.

 I checked my answers with others who concluded that what i had was in the the range of what they had. I asked on the reed organ list if anyone there had such a thing happen and one suggested that it was the cavity that held the reed that jointly made a lower resonator. This made total sense to me and assumed it was correct but i thought i could check it by trying it against the second set of reeds which has a much shallower cavity. the result was the same.
 One of the things i did to test was to play the pitch it should be along with the lower pitch.
 In all cases it is the lower pitch that sounded much louder.

It appears i am not the first to notice this. i got an message from Simon Buser,  a builder and Organist in Germany who said,

"The same system of reeds 2 semitones higher than the resonators I found in Organ Clarinets of Aeolian-Skinner. Seems to be the usual way to handle this phenomena: by experience, not by calculation, I suppose."

My own theory at the moments is that since they are suction reeds not blowing reeds that the suction lowers the air pressure. But still have to figure out a way to test this.

 Oh yes BTW with a vibraphone bar it works as expected.

Anyway one can have some musical fun with this as can be heard here. [Might take a minute to load]. The top pitch is the theoretical one and the lower is the one that works

http://anaphoria.com/organharmonics.mp3

An Akashic Torus

The title An Akashic Torus refers first to the Akashic records, that library found in the ether that contains all knowledge. The Torus is a donut shaped structure that somehow is a common representational mapping in our mind of many multi-dimensional patterns. Along with the intonation employed we have a looking back but not to some ‘Golden Age’ that never was, but as a door to view what been discarded as musical possibilities or even what have been spoiled.  The piece centers solely on pentatonics, an interest resurrected by my contact with Lou Harrison, who I envision as the present caretaker of pentatonic scales in the previously mentioned library. It is not unlike the room he had in his house of similar purpose.  Of much interest also is in the effect of long meters as a resistance to the short time thinking we all are subject to. Although the meter of this piece contracts or expands it remains centered on a meter of 101 beats long, making each bar about 55.5 seconds long. The striking of a Meru Bar most often marks this meter, but not always so I advise not counting.  The piece has only 11 bars to show yet it makes the piece exactly 1111 beats long.

For those interested and familiar with Moments of Symmetry patterns, here is also the final rhythmic breakdown of the piece based on secondary Moment of Symmetry patterns. The basic 101 was both subdivided by a 64 beat generator which was cycled around or another generator which resulted in 64 different subdivisions. from there the 101 pattern was both expanded  to a 138 beat pattern and contracted to both a 64 and 37 beat ones.

It was a quite difficult piece to write in that the Clarinis were limited to a range of a ninth and this coincided with only the lowest octave of the vibraphone. They also were only capable of playing diatonic scales of 7 notes each and two different ones were necessary for getting all 12 tones of the scale. I worried much about the whole concert sounding too high in pitch lacking bass instruments so this is one of the reasons i added the Meru bars. You need headphones to really hear it though. Care had to be taken also to cue the Pitches for the violin like Tahru as often the lines were melodically more than harmonically conceived making it a bit harder for any string player, much less one also being handed a new instrument.  Fortunately it was all recorded in the studio a few days later which should appear with the other fine works on the program which you can access the links from the youtube video.

"Prepared" Intonation as opposed to "Tempered" Intonation

     Maybe the most common way tuning is thought of is to enable a series of harmonies or scales to be performed in as many different ways or in related ways depending on quite a varieties of approaches. Intonation regardless of the ‘school’ has given both melody and harmony new options as well as different stresses and pull even in sometimes the most familiar of material.

     These explorations have lead to sometime unforeseen musical situations that result in acoustical phenomenon not sought for but compelling when it appears sometimes out of nowhere. More than a few have sought these events exclusively by means that can be as simple as close pitches creating beat and beat patterns, or proportional triads or larger units as well as difference tones. It we pursue this path and construct tunings to do so, might the term ‘tempering” not be the best term we might use.

I think what is happening in many of these cases in pursuit of both sound and noise is closer to what Cage described and did with the term “prepared” in the case of the piano .

 The prepared piano was changed so that specific notes would be changed into specific sounds. In the field of intonation this shift goes from the noun of a singular pitch to the verb of the interaction of two or more, by interval. Being tied to ‘interval’ instead of a single atom of sound allows each individual tone to act potentially in a variety of roles that might be unique in its relationship and situations to the whole matrix of others. This places an overarching "political " framework by the roles each plays within its structure. It becomes capable of personality as well as identity. This approach calls for more investigation along these specific lines as these goals and desired will lead to new forms to have them realized. While we have new melodies and harmonies, we also have new sounds and even new noises and it is these four elements that promises much to the modern sound alchemist even via just  the one parameter of tone.

Another 14 tone scale [from a 2-3-7-11-13 Dekany]

As a prelude let me say not to worry. I will tell you what a Dekany is , and yes somehow I have come up with quite a few 14 tone scales, in fact more than any other number.

The harmonics 2-3-7-11-13 as a set have raised some interest. George Secor and Margo Schulter, are just two important microtonal theorist who have seen interesting possibilities in them. While the former sees it as a bedrock for harmonic development and is interested in scales that can accommodate them as in this paper of his. The latter, Margo Schulter is interested in this set as the basis to explore her neo-renaissance/neo-gothic approach to music since these harmonics are the basis of the Persian scales of the time.

Margo had recently posed the question about how these harmonics might also be developed into scales that include the non-tonal centered harmonics structures of Erv Wilson's called Combination Product sets, or CPS for short. These structures provide a gateway into a somewhat 'atonal' or perhaps 'pantonal' environment while retaining relatively simple consonances. The interest is in adding to the language of this period before tonality would take such a strong hold.

The simplest CPS we can form of these is the 2 out of 5 Dekany. The Dekany is a 10 tone structure that takes the combination 2 out of 5 elements at a time and multiplies these together. [2*3, 2*7, 2*11, 2*13, 3*7, 3*11, 3*13, 7*11, 7*13, 11*13]. You can download the chart above or a larger one here to see how one can map it out on a lattice. Now while this give us a wonderful harmonic set, there is a great advantage in going one step further and trying to find what is called a Constant Structure. This is a structure where each times ratio occurs in such a scale, it will be have the same number of notes in between. [We find this property in the pentatonic scale on the black notes, in the diatonic and in the 12 tone scale for instance] Now this Dekany does not have this property on its own and the chart shows how I solved the problem and ended up with a 14 tone scale.

I preserved on the left half shows the steps it took to solve [in case one wishes to do so with any set that might interest one.]

First one arranges the main intervals from smallest to largest possible with the harmonics one is working with.  This coincides with the series one sees running down the right hand side in the left half of the chart.

While 14/13 were all one unit the 13/12  we can observe that one of the three occurrences  are two units to the other two being only one. Hence we need to add tones so that all the 13/12 are 2 units in size. This is designated with a circle with an arrow from side to side which is carried down and counted in determining the other intervals.

A rather odd thing happen though as when we reach down to 11/8, we can see that the 12 notes up to that point do form a constant structure,  but the 11/8 is only 4 units is much too small as the smaller 4/3 is 6 units. While one can have a bit of an overlap on range, we instead fix this oddity by adding two tones in the large gap to make it at least the same number of units as the 4/3. Since the idea was to have possible repeated tetrachords the pitches chosen to be added were ones that were a 3/2 above or below tones we had. There are other solutions one could pick.

Viggo Brun's Algorithm Applied to Rhythm and Long Meters

http://anaphoria.com/ViggoRhythm.pdf Here is a short paper about to be added to The Journal of Anaphorian Music theory on how Viggo Brun's Algorithm can be used to generate long meters or metric patterns. These produce different variations than the ones i have worked out with Horogram Rhythms found in that journal.

The Pentatonic Family pt. 1

This is a very elementary paper that i thought i would share.
It touches upon the use of Bi-level Moments of symmetry as well as chains with slight variations.
All is discussed in terms of an undefined 12 but the principle can be applied to any tuning. hope it is helpful. http://anaphoria.com/pentatonics.pdf

It is like a third world application of Xenakis sieve method. but then again we might prefer to apply complex ideas in simple ways than simple ideas to complex ones.

The Death of [blank] Music

It is not the death of new music, of contemporary music, of avant-garde music, of experimental music, of new music, of classical music, of rock music, of jazz music, of punk music, of free improv music, of indigenous music, of folk and traditional music, of electronic music, of conceptual music, of silent music, of professional music, of amateur music, of music on CDs or vinyl, of live music, or even anti-music, but it is the only the death of music that should concerns us. The healthy whole is made of many organs

Music and Evolution

I keep not posting cause i don't have extended things to say , sometime only a line of two.
please forgive. But people talk about all musical innovation as being evolutionary,yet if we are basing this on nature, possibly we might be stricter and point out in nature there are all types of variations produced that don't always result in a forward progression of the species.
Many of these are sterile, so what really constitutes what is evolutionary is the ability of something to produce fertile offspring as opposed to sterile hybrids. Let history define where musical evolution is or what might be like the parallel to Monsanto. What good is it to go somewhere if once you get there there is no where to go but the way one comes in. Perhaps there are more Cul-de-Sacs than ever before, but perhaps history knows them as the commonest of lots.

Dark Dissents at MOCA

http://www.moca.org/museum/event_calendar.php?m=4&day=10#10

I will be having a work premiered at this event of the above title in case you are in these environs.

'Dark Dissents' is for a retuned Hungarian Cymbolum played by Cory Beers
(It is quite unusual to have someone else perform my work)
Exploring the thresholds of where private dissents slowly transforms into public ones.

Our Rainy Season/Nuilagi

I am extremely happy to announce the release of my new CD.
The first in over 4 years and it marks my first since immigrating to Australia.
Our Rainy Season involved two Australia's finest improvisers, and Nuilagi, involved two of some of the finest i had worked with in the US.
I am honored to have it released on such a fine label as and/Oar's related label Either /Oar.
more info here
http://www.and-oar.org/pop_either_5.html

Bundanon again, with Ensemble Offspring

Terumi and I once again found ourselves at Bundanon. Our last time involved our participation in the Ten Trenches project and performance previously pictured on this blog here. This time we were here to lay the groundwork for just intonation works to be performed in Sept. by Ensemble Offspring, one of the leading New Music ensembles in Australia. Co- Director [w Claire Edwardes] Damien Ricketson and composer Amanda Cole will be the other two composers writing compositions with instruments the ensemble has commissioned. While we were there, Peter Garrett [former Arts Minister of Australia] stopped by as having a great interest in what happens there and Damien was able to entice him with our goings on while i accompanied him with the sounds of my vibraphone the ensemble will be using. [Photos by Terumi Narushima]

All the works will be based on a scale of mine i call Centaur.
which is a rare honor all its own. The instruments commissioned are 2 sets of 4 Clarini's [made by Linsey Pollack] to play subsets of the Centaur scale and a violin like instrument with 7 sympathetic strings called the Tarhui [made by Peter Biffin]. My 3 Octave Centaur Vibraphone will complete the tuned instruments. It is an exciting and wonderful opportunity to join with other talented composers exploring compositionally this newly created ensemble of instruments with its unique tuning.

Flying through the expanded Magic Squares.

Etienne Deleflie is a composer working at the University of Wollongong on compositions dealing with the perception and simulation of spatial orientation of sound. He originally asked for help in how to map Patch’s Scale onto a matrix that lead to a deeper and deeper joint exploration of some other intonational possibilities.


It quickly became apparent that he envisioned a just intonational matrix in which one could 'fly' through, as a space where nearby harmonies would have some relation to each other yet still retain a special identity in the overall field to aid in the sense of movement. This reawakened my own interest in parallel ideas of unifying space and pitch.


Those familiar with lambdomas [of which Partch’s diamond is an example] would recognize this as a logical choice, but these result with everything higher on one end. Thus the results are rather unbalanced and also lack a harmonic variety we sought for.


The situation instead seemed ripe for other types of intonational possibilities and I thought that some of the simpler recurrent sequences would work well.


So with a bit of experimenting I found that 'magic squares' placed in the middle provided good seeds for making different series running in four directions . Nearby tones would retain various difference tone reinforcements yet over ‘space’ one would move away or toward where one started harmonically in a significant yet varied way. Yet there was something musically appealing to having certain harmonics stand out and even be repeated yet then diverge in different directions from there.


After going into the anechoic chamber where Deleflie has his speakers set up and listening to some of the results, we found it warranted pursuing an actual installation with small speakers in a space where people can walk through. We are working toward this at the moment.


While this idea continues to develop further, this diagram shows some of the ways I am constructing my matrices. This one serves as a good illustration in that it includes more than one series embedded into it. [Click to enlarge.]

The numbers refer to harmonics (that in turn have to be multiplied to get them in the hearing range). First I started with a magic square made of numbers 4-12 that one can see in the outlined box in the near middle. From here I construct recurrent sequences for each direction of two varieties.

I illustrate.

Take a number, say 5, in the box and call this A with B and C being the numbers above it. Now if we create a sequence such as A + C = D we take 5 + 9 =14 which is the number above 9. Now if we move the sequence up we add 10 + 14 = 24 and we continue this pattern. Next the same formula is applied moving to the right where 5 + 7 = 12 and 12 + 12 = 24 etc. For the other two directions I used a different recurrent sequence. This one is A + B = D. So in this case we add 7 + 12 = 19 and 12 + 5 = 17 in the case of the bottom row moving left or in the case of moving down 9 +10 = 19 and 10 + 5 =15 etc. These two sequences I learned from Erv Wilson who uses them to create his Meta-Pelog and Meta-Slendro scales. He might be the first to have found them embedded in Pascal's Triangle or Meru Prastara, as it was known centuries earlier . His papers on this can be seen here.

You will notice that being a magic square the number 24 comes out being the sum of the row or columns in the box, and if one follows any of the lines in either direction where one has three 24s in a row you might notice we get simple harmonics of this 24. Quickly each quadrant deverges in its own unique way on either side of these rows. The corners become the highest notes with the center the lowest, which is a useful balanced arc. Yet it is possible to treat this whole series as a subharmonic series where the corners become the lowest and the center the highest.

Etienne has realized this using SuperCollider. The piece is now available here https://anaphoria.bandcamp.com/album/second-flight-over-an-island-interior

A Reassignment for Banaphshu

In response to those inquiries regarding the omission of Banaphshu’s name as a contributor here in the last month, we apologize that we delayed in order to enable her to speak for herself.

“It has been touching to read the inquiries as to my whereabouts from even people I have never met and it brings joy to my heart as I remember all the wonderful people I have come across through my work acting as a guide and consultant for first the Embassy and later this Austronesian Outpost.

I pray that many of you will find the opportunity to visit me in my new position as the director at RNC (Radio Nabu Congul) and I want to let you know those doors will be open ones.

With this new position comes access to the facilities that will enable me to pursue my own artistic endeavors and to develop much of the electronic music that has taken a peripheral or back seat since my first musical collaborations. I expect to become more active than ever before, and I am sure that my long time partner, Kraig Grady, will keep you informed of these developments as we remain committed supporters of each others’ work.

It was originally amusing to allow inadvertently our identities to become confused. Often our collaborations were of a magical nature where neither of us cared to remember who did what, so our merging identities were less about deception and more about artistry. For the record, our long and deep connection was of a spiritual, cerebral nature, not a physical one. We had little choice.

The last few years, however, have seen those collaborations become less and less frequent, as we have become more familiar with the territory each provided for the other. We both feel that we will always carry these experiences with us into our musics.

To Kraig and all the supporters of Anaphoria, I thank you with my heart and my soul. May you always be nourished by the gifts of the imaginous spirit!

Banaphshu
24th November 2010
Nabu Congul”

"Chopsticks" in the style of Charles Ives

From Richard Grayson's 32nd (final) Annual Occidental College Concert, March 31, 2001. Improvisation on a theme from the audience.
Yearly he would improvise on a theme and style given from the audience.

Bagobo Agung Ensemble, Philippines 1960's

Hammer Dulcimer at Serial Space (excerpt)

from Serial Space- Sydney July 19.2010. NowNow series. excerpt near end of solo performance performed on Hammer Dulcimer tuned to Meta Mavila- a recurrent sequence that resembles a tuning found among the Chopi of Mozambique.
Flamenco music has always been a music that has quite informed my directions on this instrument

Why Just Intonation?

A summary~

Why Just Intonation?

1. Just Intonation is based on the harmonics relations one finds in nature and is a natural product of the sounds we hear.

2. Just Intonation represents the most consonant intervals. It likewise can create great dissonances thereby extending the range of tension between the two.

3. Just Intonation is tunable by ear due to its acoustical qualities that are unambiguous in nature. This in turn gives one a palette of limitless emotional depth and flexibility.

4. Just Intonation is a modular system. . It is infinitely expandable in terms of intervals at one disposal. Just intonation scales are also ‘open’ scales. While they can form self-contained consistent structures, they are always capable of being augmented in many different ways. This though does not require having to change or discard the pitches one already has, the array of building blocks are the same.

5. Just Intonation allows perceivable structural possibilities that cannot be realized effectively any other way. While ambiguousness has it place in all the arts , It should be by choice.

6. One can have many different intonation systems and scales yet still have common tones, intervals and even scales common between them that can act as bridges. These easily can exist side by side. In a free world of any pitch at any time one can move from one system to another freely by common tone scales or chords.

7. As Just Intonation produces scales with unequal size intervals, this gives one the possibility of more different size intervals with fewer notes.
For example there are Just Intonation pentatonics that give one more different intervals than 12-tone equal temperament. As another example one particular 7 limit 12 tone scale harmonic known as Centaur will give one 50 different intervals within the octave.

8. Just Intonation allows for the possibility of each key or area of the tuning having its own unique flavor and quality.

The Shadow Theatre Of Anaphoria

From The Follies of Dr. Placebo

Directions

The Direction has been known for some time. There is little new to add to that.

What else can we be working toward if not total and direct freedom of expression- to convey or release whatever compels us, either personal or trans-personal, or both, by any and every means possible. Our territory is depth and the deeper the better.

In order to do this we have to keep our tools in place whether these be methods, systems, and yes processes. They provide little in themselves and yet often they are indispensable. Kandinsky was wise to point out that such paths quickly can make us its slaves. Such failures is all around us, usually in myopic segregated camps.

These tools are mere means that at their core enable a true fruition, a flow of energy from one moment to another. Can we think or express anything that is not somehow directly related to the previous? A work must preserve this by neither omitting too many steps in-between causing its disruption or stagnating it by the unessential. A focus on a ‘well made plan’ or ‘well made process” too often stop a work in its tracks.

We should liberate the concept of the idea as being based solely in the word, otherwise humans would have no necessity of anything beyond it. The ‘explanation’ of works and the forces behind it often eschew the true spirit that moves toward where it seeks. When words are used it only function might be nothing more than another element of that flow. Hence its methods and processes should be no more restrictive than the work itself. Formulas and common practice just will not do.

It is not that we will not have our “constants”, an element Pound always pointed out as being part of any work, and likewise ourselves as one also would be no different. We might accept our resonance to some and not to others, an aspect of our own antennae. The goal is to have as many open as possible.

An Aside.
It is not that History(ies) is capable of being resurrected but it is immortal as an active part of the fabric in the continuum of our present. More often than not when we find ourselves at an old intersection with the same old things on the corner, we have approached it from new directions than before. This is what is easily mislabled as “influence”.

New Research Reveals a Hidden Meaning in The Footpaths of Anaphoria’s Abdiz Valley

One of the most perplexing mysteries of the footpaths found in the most rugged terrain on the island has been the many branching tributaries it seems to take without explanation. These pathways, form an entangled array rarely more than a few meters away from each other that required extensive work to build even though it follows the landscape. Scholars have studied them for years sensing a meaning that has evaded them till now.
An ancient cryptographic text found in the area being studied at the Center Of Alphabetical Sequence has revealed the paths turns out to be a score to an ancient music in 6 part harmony sung while people walked long it in groups. The text preserves what appears to have been once the oral instructions memorized by those who walked and sang upon these paths. The text also reveals the story how the music appeared in a dream to a old man who knew it related to this uninhabited area of the valley. The fragment ends there. So the mystery is not completely solved for now. What does it sound like? Prof. Mij says we won’t know till they actually go there and try it out next month with his group of singers.

(Reposting from gamelan list) Wayan Lotring. This is a film made by Jacques Brunet

One of Bali's greatest composers

An example from Robert Lowell

The other day I happened to glance at a book of poetry by Robert Lowell, reading a collection of his poems entitled ‘Near the Ocean’. I was completely unfamiliar with his work except recognizing the cover from many times before. It was work the grabbed me instantly. ( I am sorry I could not find an online version) .
While I know more about his overall poetic practice now after researching him, at the time the form struck me. The majority of the lines were rhyming couplets, but exceptions appeared frequently. Sometimes these stretched the limits of rhyming while other times he made no effort to force the work into this mold.
Here was a good example of how an artist can be informed by a method or system or even an idea and not become a tool of the tools they choose. What the balance should be so we prevent being lead into some robotic existence or blind worship of an arbitrary. This seem a pathetic state for the arts to choose.
Should we pursue looking for the methods or a way to find our way without them. I prefer the latter. But if we do use them we should always being the one leading as opposed to being lead.

THE ACT OF SCALE FORMATION-Erv Wilson

THE ACT OF SCALE FORMATION ( Erv Wilson in a letter to Gary David from the 1960's)
The act of scale formation is inseparable from the other creative aspects of music formation. The human voice illustrates admirable how scale formation participates fully in the whole creative process of song. The scale is perhaps as unique to the song as are its rhythms and melodies. And like rhythm and melody, the scale neither precedes, nor follows the song, but progresses in the full flow of real time as a soft and sensuous and endlessly malleable expression of human consciousness.

Particularly in fixed-pitch instruments the role of scale tends to be diminished, if not entirely put aside. Even in a polyphonic keyboard instrument, whose ostensible goal is scale-making, the spontaneous, song-like scale is far from being achieved. In the design of a new instrument, one does well to recognize the technical limitations, and to compensate accordingly. (1) The fixed-tone needs to be bendable. (2) The fixed-pitch must have alternate inflections. One makes “knowledgeable guesses” as to what these will be, basing one’s judgment on past creative explorations. These are assigned to a Generalized Keyboard in an appropriately organized pattern. (3) One must have the facility for introducing, in performance, and in creative explorations, new pitches/inflections that may not have been anticipated when the “best-guess” tuning was assigned to the keyboard. Particularly as we “compose” we must be able to create our tunings, immediately from the console, as part of the same, if I may say, somewhat ritualized, creative act. To whatever level is optimally feasible, we should espouse creative tuning as part of the “live performance” (again, a ritual). The wall separating the “composer” from the “performer” should not be designed into the instrument.

The keyboard may be visualized as a Navajo loom upon which intricately lovely and endlessly variable scale patterns may be woven. A canvas. Arbitrary limitations to this variability must not be designed into the instrument. The keyboard is an art, and an interface, a crossroads and a bridge. The keyboard is a ship. In the tunable generalized keyboard we have the birth of a new art and the rebirth of an old art, as ancient as man. The keyboard must Breathe, poetically speaking, for it is the extension of a living process. The scale is a volatile genie that knows how utterly to transform its shape. Every effort must be made to accommodate this mercurial creature-of-the-psyche through the keyboard. The keyboard/console must animate the scale. While undoubtedly it is valid and admirable to study the scales of other peoples and other times, we are concerned primarily with the creative processes and the development and expression of our own arts. We see the keyboard in an attitude of creative anticipation, and to jealously guard against closed, limiting, non-living attitudes, and the great body of “tacit assumptions” and “forgone conclusions” (which, incidentally, we do not assume ourselves to be free from) which might hobble or render ineffectual those subtle intuitions of beauty.

Design philosophy, in a word, should be OPEN. Keep it general(ized), viable, versatile, changeable. Guard against the proverbial cul-de-sac, the one-track, the squirrel cages! My heavens!

The keyboard is a transient lens through which a cosmos of musical relations may be observed. Keep it volatile. Forgive the metaphor! Or interests are primarily “just” and in that regard the acoustic universe is seemingly endless.

" Iwabue " -Japanese native stone flute

Thanks to Yannick Dauby for sharing elsewhere-Mr Yokozawa kazuya playing " Iwabue " Japanese native stone flute in Silkroad Butokan 14, February,2010

Podcast: The Complete Creation Myths of Anaphoria

Banaphshu here presents for the first time available anywhere outside of Anaphoria the complete creation myths found on our island
Tales of Anaphoria/podcast

How all Anthems should be played

When Scelsi's concept of a pitch is applied to the patriotic

Flag no.17

Hall of Mirrors-Works of Ledhead-

Going here by the name Ledhead, former collaborator and voyager is some recent work called Hall of Mirrors
found on our staff notices page with the center of alphabetical sequencing.
one sample

EPITAPHS SHOULD NOT END
IN QUESTION MARKS

At 3:00 in the morning
You can face any direction
And it is still night.

Is that why Jamie said,
“Acid is a jungle gym
At 3:00 in the morning.”

All rights reserved, Ledhead 2010

The Butterfly Constellation

The people of Anaphoria are perplexed at how some places in the world see a hunter [Orion] where they have only seen a Butterfly [Marpessa].

This photo has been updated here
http://anaphoria.com/mintime.html

A family of 9 tone Scales with some 14 ones on the side.

We have to thank John Chalmers for his Tritriadic Scales. It causes us to keep focus on the material generated by the combination of tonic, dominant and subdominant and how wide those parameters can be extended. It seems to be an idea that has been in the air recently. Warren Burt used in an installation, which you can listen to a bit here 3 11-limit harmonic series fifths apart. Such a structure while embedded in a Partch diamond (harmonic hexads on 1/1, 3/2, and 9/8) seems to stand on its own with it own life. The piece I am working on now for solo vibraphone that I will be playing in Brisbane and in Helenburgh explores these relationships within 7 tone scales much in the way Indonesians will use pentatonic within their 7 tone pelog. I mention some ideas about this here in relation to the idea of tempering to accommodate these three scales.
It appears it a similar idea caught the interest of Steve Grainger who took a classic 7-limit Pentatonic and extended it likewise up and down. This he mailed to me.
I made a mistake right off and assumed it was not a “constant structure”, that is a scale that where each occurrence of a ratio is always subtended by the same number of steps. It is a quality that gives a good melodic flow that otherwise only has harmonic relationships holding it together. Having both is worthwhile to pursue.
But I moved ahead and found 2 solutions right off for 14 tone scales. It is an unusual number to have as a scale and I seem to have come up with quite a few over the years. I am not sure why. These are illustrated and one could pick out of either set of alternatives depending on what one might like.

There is an important feature here though of Grainger’s 9-tone scale that as far as I know has been overlooked. It appears that there is a whole family of pentatonic based on 3 fifths plus 2 notes in between the fourths that will all produce 9 tone constant structures. These tones have to be larger than a 9/8 but smaller than a 32/27, most of your smaller minor thirds.

This scale would have been of interest to Rod Poole and note sure if La Monte Young has toyed with the idea, since it develops in the direction of 3 and 7s. It is in that territory

The Grounds of The Future Embassy of Anaphoria Island

Pictures from Canberra on our recent trip to inspect the final grounds chosen for the future Embassy of Anaphoria Island and witness the hoisting of the flag~

Sand,Dust,Relics

C. Forster’s Musical Mathematics which I reviewed in my last post reminded me of how much subharmonic material is in the musical past from places as far removed as Greece to China. While I have been working for quite a few years with various recurrent sequences (of which the Fibonacci series is just one), this exploration has been almost exclusively in the harmonic direction.

Having brought back my Marion Prosynth from the US, I remembered what a good tool it was to try out a tuning as one can use the LFOs to trigger notes in different ways so one can place weights on keys which will bring them up and down at different times. I often will let something like this run for quite some period periodically moving as I pass by or not satisfied with what I am hearing. One of my favorite series is Wilson’s Meta-Meantone though I haven’t used it as much. The CD Beyond the Windows Perhaps among the Podcorn is the big exception. If one seeds it right one can have a triad using the ol’ 27/20 wolf with a third that beat equally giving it a more ‘consonant’ sound. Playing through a few recurrent sequences in their subharmonic version I found that indeed Meta-Meantone had much to offer.

So here is a mere sampling I call Sand, Dust, Relics. That eventually moves into the triad mentioned in its minor version.

Cris Forster's 'Musical Mathematics'

[C.Forster's Bass Marimba-Photo by Will Gullette]

Musical Mathematics by Cris Forster is a rigorous and highly organized book that deals with the construction and tuning of acoustic instruments. In a clear and graspable way, the book first tackles the physics of instruments, a subject that is often the greatest stumbling block for readers interested in building instruments of their own design. After a detailed examination of the subject of mass, Forster guides us through his knowledge of strings, which includes their physical properties and different usages on musical instruments. Only in retrospect does one realize what a careful choice as a starting point this is because it easily leads us to a more complex study of bars, rods, and tubes. Resonators follow, with thematic connections that reach back to earlier chapters and forward to air columns and flutes. A chapter on geometric progressions, logarithms, and cents concludes the first part of the book, and at the same time acts as a bridge to the study of tunings. The second part presents the reader with a strong foundation of the history of tuning in Western civilization and throughout the world, and the methods employed to realize these tunings. The book ends with an examination of Forster’s own instruments, which are extremely beautiful in both design and sound. He remains one of the greatest practitioners among instrument builders.

Although I have spent many years in the field, I discovered in Musical Mathematics a fresh and above all generous presentation of knowledge both with regard to acoustics and the history of scales. For example, the chapter on Chinese music discusses an approach to string tuning that I have never encountered in any other sources. Because of his own translations from other languages, Forster’s research is not limited to English texts; for this reason, his book is filled with many new sources that provide fresh perspectives of the historical record. The subjects of Indonesian, Indian, Arabian, Persian, and Turkish tunings are likewise treated with much care and depth. Perhaps the book might be compared to Harry Partch’s Genesis of a Music, but there are marked differences. The latter was written to explain Partch’s music and instruments, and only secondarily to help others build their own unique instruments. Musical Mathematics, on the other hand, focuses more on the needs of creative individuals; it encourages musicians to discover and explore aspects that are most useful and fruitful to their own work. It is toward this goal that Forster shares the benefit of his knowledge and experience.

Yes, here is a book I surely wish I would have had 30 years ago when I first started out as a just-intonation composer and instrument builder. Musical Mathematics is truly as useful to the beginner as to the most accomplished expert in the field; both will find much value in this book. Also, it is obvious from his thoroughness and practical insights that Cris is an authority who has actually worked with the materials — an important aspect that sets this publication apart. This is a work of depth and breadth written in a spirit of sharing and helpfulness for those interested in the subject. Musical Mathematics is a watershed book that will, without doubt, change acoustic instrument building for the better, and change many of our views on the history of mankind’s intonational practices.

I can't help to mention that it is

Available Here

http://www.amazon.com/Musical-Mathematics-Science-Acoustic-Instruments/dp/0811874079/ref=sr_1_1/181-1266760-1225831?ie=UTF8&s=books&qid=1269533071&sr=8-1

Working on The Wilson Archives

It is funny to think of one studying just the subject of tuning for over 20 years much less with one person, Erv Wilson. Such a subject while specialized is not inseparable from all the other aspects that go into music though. That is how it was possible and often the focus of discussion.
Much more than number games, once a scale is designed and what one understands what material is made available, one needs nothing more than ones ear to guide one into the territory one has developed.
Often I have been asked if I have been influenced by certain composers, but as in one case, I had not even heard their works until a little over a decade ago having absolutely no access to their work. Nor has much stuck since then either. Similarity can come about out of the nature of the material itself and what it enables one to do as well as what it wants to do. Say everyone in history had only done oils and a few pick up watercolor for the first time, different individuals are bound to discover and marvel at some of the things it can do. Possibly the real question is why one would want to use them like Oil since they already have the means to do so. Especially when using something as removed as glass.
Hopefully we can move on and see it as ‘sensitivity’ to the subject as opposed to an influence.
I have just returned from the US where the entire papers of this man were digitized. Myself organizing them into files of like subject while Terumi Narushima, my wife who is also working on a thesis on Erv’s Keyboard designs and strategies scanned the material. All this in the mere 17-day window we had to do it. Credit goes to Stephen Taylor also for prompting us to come to do this realizing that it needed to be done soon. Also he provided us with the workspace, even being our shuttle at times as well as diving in and putting in his full effort and advice. It would not have happened without him not to mention the others steps he has taken to help Erv’s well being. Jim French deserves much in this way too staying with him for extended stays beyond what anyone could be asked to do.
Others should be also mentioned as putting in their experience with the work in a few nighttime gatherings. These included Marcus Hobbs, Gary David, Jim French and Chuck Jonkey each who like Stephen and I and all of Erv’s students have developed their work in a singular and unique way that makes the idea of a Wilson “style” absurd. The visit also invoked Jose Garcia who I hadn’t seen in maybe 20 years as well as Marsha Mann telling Stephen what she remember of Erv.
Taylor requested, actually insisted I provide a proposed filing system in which all his could be organized and mapped. And after four goes at it, this is diagram is what I came up with (still in progress though). It reflects how the papers cross-reference themselves and not some personal preference on my part.
We ended up with over 355 files, some as many as a hundred pages and few less than a dozen. The files often were general and single documents scattered in different places. Fortunately only a few pieces that are a complete mystery yet these already are coming to light. So my work is still going on here and will take some time with the goal to make it available.
Erv stated that his work was like assembling a bird’s nest, finding the pieces and placing them in the right place when he found it. So maybe this is how his nest looks in the creative imaginative dimension he created it in and for.
He remains the one person in my life I must give the highest thanks to. I hope the finish product will be a testament to that thanks.

Harry Smith-"Early Abstractions" (1946-57), Pt. 3

No. 5: Circular Tensions, Homage to Oskar Fischinger (1950)
No. 7: Color Study (1952)

Pictures from the NowNow Festival

Thanks to Adrian for taking these. More wonderful shots of the festival can be seen herehttp://www.flickr.com/photos/ajebec/4302681073/
Performers were Kraig Grady
Terumi Narushima
Alex Masso (bottom pic)
and Finn Ryan who despite being the tallest is not seen.

The Chopi Timbila/Venancio Mbande

The Chopi were thankfully the interest over a half century ago of Hugh Tracy who collected extensive data about their tuning, music and practice. Its closest tuning relatives in the world seem to be Burma and Thailand more so than those in Indonesia as originally thought. These traditional instruments with their tunings has now been reduced to the skill of this one man. The Chopi has been a prominent investigation and exploration of mine for years and is the basis of the tuning used on my hammer dulcimer and an organ (Meta-Mavila) . I consider it the second most important tuning i am working with. Hopefully it will manage to become an orchestra of instruments like i have been able to with Meta-Slendro. It is more important that this work continues where it started and good to see what we see here.

An Aperiodic dispatch from the CENTRE FOR ALPHABETICAL SEQUENCING

TRANSCENDENTAL AND EMPIRICAL RESEARCH CENTER AND LIBRARY
OF ANAPHORIAN CRYPTOGRAPHY
418 HUGURU DRIVE
VEIVULANGIGI, ANAPHORIA


Rants the Applause

The vendor the crude country asset.

a mysterious expressway stirring underneath
the crowd presses a wary hope
a capable reminder that distances
the doubt in an abolition neighborhood.

Behind the ambassadors a parade roars after each funniest coincidence
Example a fraud appeared beside the pool bending
Spoke frog the staggering
A master gutter riots into any garbage and overcomes appeal
The offending group questions why another quiet manifesto
How can the wasteful ploy chain the infallible autumn magic?

Why does Pope ascend above the voice
so new catholic can recycle a grief
likewise treads the other fundamentalist on its followers

How did the prophet breed such a stereotype?

Even my passive corn objects.
Heaven waits for an approach toward a humane diameter.

Bequeath the psychologist proceeds a genocide.
The silent mob conveys the sneaky doom of wallet
a soldier groans with his bigot toed officer
Huff the helicopter frowns
A military expires across the horrific bridge
strays a gun strays

A bankrupt search insults one killer
A terrified commentator can only yawn
a contemporary repertoire that lifts the conspicuous policeman
The flagging civilian quibbles next to the receiver
How the collective terminator is apologized
This mass understands unhappy censorships

The intervening sunrise revolts near another mechanism.
a diagonal mud changes across the earth
Will any geography succeed to wash aside an indigenous interference?

An interactive hardware dances inside this culture.

The evolutionary reward stirs
Around the yearly childhood
The newcomer flavors a lifetime
The toy licenses a charmed adult

A stone dances over a heart.
A temple dances behind a lecture.
The applause rants throughout a seventh