Rod Poole- Voice of the Bowed Guitar

After Rod Poole's passing, I assembled a concert of shorten selections of some of Rods pieces from his works for three bowed guitars. I felt it was better to represent his variety on the subject and inspire maybe others to perform them as well as to allow people to hear how differently they were. Something the months in between his performances did not us able to do. In his notes we could find only 4 versions of which we realized three. It was quite enlightening what he had done.
Not only were none of the guitars tuned the same way in a single composition, instead much care was directed to the spacing of chords and doublings for resonance in what must have required much experimentation on his part. Rod did not tune to any reference pitch but worked with the sound and timbre of his guitar to start building a piece yet one version did require a capo around where the sharp 4 would be on an open string. While one might acknowledge that this began where he could get the intervals he wanted but also i imagine he also wanted to investigate that shorter string timbres as well as the difference the strings would react under the string tension.
Each of these versions represented a different way of approaching the limitation of a single chord. Each of the four versions he left couldn’t be more different in construction; the utilization of harmonics 13-14-17, an unusual Tetrachord, a 7-tone scale, or a 5-tone scale taken predominantly from the subharmonic series. On Sept 12 in Los Angeles SASSAS will be presenting a tribute to Rod taking these as it foundation. David Beardsley is also planning on presenting one in the future. I myself would like to bring this work to Australia but i also hope to write my own at some point in tribute to him and allowing the idea to continue to grow which is what Rod's approach was all about.

CATcerto

Michael Tenzer posted this on a list:)

Cheb Zahouani-Rai

Cheb Zahouani has always been one of my favorite Rai Artist. I have always loved the scales as well as the Synth sounds which in most other context just wouldn't work. Here they do. I am amazed how it doesn't bother me that it takes over two and a half minutes for him to even start the song.

Recent Correspondance

Assist
Dear Sir/Madam,

AM King Joe and i want to know if you can assist me to make an order for scales. I would need to know the types you have in stock,let me know the prices and also the types of credit cards you do accept for payment,i also don't need shipping cost because i will be coming to your shop for pickup or recommend a shipping company for the pickup when the scales are ready. Please Advise ASAP So that the project of the scales will be fast.

Regards,
King.

Is it safe?

For those of you interested in Just Intonation, i have started a yahoo discussion group here.
http://launch.groups.yahoo.com/group/JustIntonation/?yguid=42458

Here is a safe haven to discuss the practice without having to justify itself. Something it seems it has to spend too much time doing. It is the music that matters and even though I can come up with many advantages of JI over other systems, i don't feel like putting any more energy into that. It gives us useful and rewarding possibilities, what more can one ask for. It is small group but the quality of those involved is high and most of all positive. It is more than open to those who are just getting their feet wet or want to hear what people are doing with it.

Another Yahoo Tuning Group

An Eastern Western for Koto

A short little composition for Koto. The scale is derived from Meta-Mavila. This scale was inspired by the Chopi tuning in the village of this name. The mode chosen was which most resembled a Japanese scale so we might have added some S.E. African reference in the title too. It is dedicated to my lovely wife, Terumi Narushima who supplied the photo of her Koto