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.