Wilson's Mapping of the Hypercube

 

For any composers interested in doing a followup to Xenakis' Nomos Alpha, here is a pitch based option. While Wilson had plotted out the cube, he also did one for the hypercube which i added some factors, a different rotation with dyads closer to the best fifth possible with 1 thru 15 to my own with pure fifths Since the only links are via dyads the piece is bound to be pretty dissonant but higher harmonics are possible of course. the latter one might be the most perceptible at least for present ears.

In the lower right version there isa repeat of the product of 3-5-9-21 and 1-7-15-27, but if i space the structure in this way 18-20-21-24-27-28-30-32 these two tones will be two octaves apart

Rethinking the Guitar as a cross-set.

 

While I am not a guitar player, I have nevertheless observed how the instrument is played and used as most of us who are non players. It has struck me that at one possibility has been over looked which i will explain here and provide one example, not to be definitive tuning but as an good example of  what i see as a fruitful direction for the instrument. 

The tuning of a guitar can be thought of as a cross-set between the open strings and the where the frets are placed. Traditionally this has resulted in the same notes of the scale but has been useful with exploring the spacing of chords as well as range. With JI or subsets of larger ETs interesting variations occur as a result. While this has been a concern those working with any type of inequality, it has advantages that open up musical possibilities. 

If we look at how the instrument is often used we see guitar players often using the upper fret area in points of  excitement. traditionally the timbre of the instrument becomes more inharmonic due to the shorter length of the string coupled with the side to side motion of the string.  and it seem that tuning systems could be designed to explore intervals that might have more of the nature of the music played. It is easier to conceive the guitar as a cross-set when we still preserve having frets that run all the way across. While it is possible to retune the open strings that have individual frets it potentially become complex .

 Conceptually this idea would be to have more restful intervals in the lower range with more bright or most even dissonant intervals above. Since it takes very few changes in a scale to change to over all character, It could be just the change in a few ratios ( or say scale steps if using an ET. A conservative example might be having more 5 limit ratios in the lower range with their pythagorean counterparts in the upper range.  For myself it would be useful also in my vacillation between my Centaur and Centaura tunings. Here is a diagram showing one fretting possibilities (not to scale) .

Hopefully this will provide some further ideas. Various high number ETs such a 31 and especially 41 could choose subsets that covered all the 41 tones just in different ranges for their different tension and expression.

Andreya Ek Frisk has been kind enough to forward this accurate fretting of the tuning discussed. 

My Introduction to the Music of Alan Hovhaness

Having to support myself while a music maker required other means.  I ended up working as a scenic artist in Hollywood. I started at the bottom which consisted of having to clean the rollers, buckets, brushes, and whatever else needed to be cleaned up and only then would i get out onto the floor.  While a noisy environment, i would still listen to the classical channel as a good contrast to the commotion.  One day a piece had just started a few minutes before when one of my co-workers, Dennis Mancini, who also worked as an actor, entered the room, stopped, and listened and then commented about how the music reminded him of his living on Mt. Shasta for months by himself. He described how he lived totally off the land and this was his way of self-healing from his time engaged in the Vietnam War. When the piece finally ended the announcer said that the piece was "Mysterious Mountain" by Alan Hovhaness and we both were quite taken back that the music had captured his experience. Something that music seems less inclined to do these days. 

Years later, the composer Los Harrison told me that the music that saved him from his breakdown was the music of Harry Partch and Alan Hovhaness. I have many recordings of both, but the later's output is so large i have much more. 

Toward a Poor Orchestra

Music imposes itself on its environment as much as the other way around. It has always refused to be held back and anything and everything is fair game. Much like animals in the deepest areas of the ocean have produced their own light, music has always found a way to develop with what it has on hand. 

It is quite astounding how earth’s music cultures have not duplicated their forms elsewhere except through contact and exchange with neighbours. Differentiation is a clear sign that what we hear now is the result of constant experimentations, accidents, and possibly even mistakes in attempts to preserve or resurrect a lost tradition. Also, what cannot be overlooked is how powerful the element of 'play' is in shaping music. Despite the talk amongst contemporary practitioners of their world of "infinite possibilities", the music remains shy of the diversity from what history and geography has produced up to now. 

Music in the West prides itself as the forerunner of musical progress. It is a rich tradition with its own internal diversity throughout its history, but it has more often than not failed to acknowledge the progress of others when different from itself. The criteria by which the West judges are usually technological, such as digital and what it enables. Historically, though, it has judged other cultures by the complexity of the music.  

I am going to concentrate on one level of which I am most familiar and most equipped to comment. This simply is the number of notes used in the scale (or its pitch palette). Different cultures are often under constraining issues such as resources and the need for mobility of instruments that prevent expansion in the direction of adding more pitches. The mistake here is equating quantity with quality. My own observations of scales have led me to a conclusion that scale development often takes place by the production of scales of unequal-size intervals while still preserving an equality of function within itself. Such scales can produce more different size intervals than those of strict equal systems and I propose for this reason we witness an absence of equal systems around the globe. The West has proposed that some of these are indeed equal while the actual measurements quickly destroy such notions. Instead, this suggests that non-westerners cannot correctly tune to what it is they want musically . In scales with limited numbers of notes, there might be certain intervals that are unique within the scale; the tones that form these intervals may also have a unique and individual role in the whole scale. These roles need not be hierarchical and often are not. As an aside, a political system that could encompass such variety as well as allowing equal prominence or rank in the overall scheme might be a system that we might welcome if proposed. One can observe, for instance, that most 5-tone Pelog scales have more different size intervals than the tuning used by Webern. Such uniqueness also provides an orientation within the scale that can be as strong as tonality. There are other forces involved that can unify the whole set of pitches which will have to be discussed later. It is also necessary to clarify that scales can involve variables which is common with a cappella voices even in the West. Little is understood how context shapes these variations and how they are perceived and understood. .  

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This brings me to my own development where my musical concerns deviate from the arsenal of Western instruments and its single 12 note scale. Still, like most musical practitioners, I trace my own lineage to those before me historically. Where it diverges from the given Western path is that it was first inspired by the work and instruments of Harry Partch and later through contacts with Lou Harrison and Bill Colvig. There are also important contemporaries whose work differs yet informed my own such as contacts with Cris Forster and Jim French and others who I have missed meeting in person who nevertheless have led to instruments of my own, like Daniel Schmidt. All these though take second place to studying intonation systems with Erv Wilson over 20 or (maybe 30 years really) which save me from ever being a mere copy of these. 

Out of the empiricism of my own practice comes many unforeseen directions. Having started with embracing 60s pop music and its revolutionary spirit, the classical avant-garde at the time seemed just a parallel extension. It was the possibilities let loose by electricity upon pop music that made much available for the first time. Yet electronic instruments were not economically possible for me at the time. Synthesisers for instance were anything but cheap and/or limited to those educational institutions that could afford them. Those who were able at the time to do great work were connected more with the latter. So, when I saw Partch's U.S. Highball a year after Partch's death, I was struck by two things: 1. here was a direction that was little explored but showed promise and potential, and 2. it was not out of economic reach in that it involved instruments that even this hobo could build.

Much in my environment made this direction appealing. My day job working as a scenic artist put me in an environment where there was scrap material of all kinds laying around. I had already spent some years exploring free improvisation with such found objects, but Partch's work impressed upon me that such materials could be developed into instruments beyond just timbre and rhythm producers. This performance of Partch followed upon my first meeting with Erv Wilson just the week before. 

Erv Wilson had a Motorola tuner and he knew of a good source of plumbing tubing. Soon, I made a tubulong instrument as my first microtonal instrument which I thought I would use for ear training for the viola that I played. Somehow the lure of the tuning was too overwhelming to stop long enough to catch up on my instrument and I continued to go through scale after scale and structure after structure. The 31-tone tuning was simple to understand, encompassing much of the 12-tone language while providing completely new resources. A few years later, I travelled with Erv to Webster College in St. Louis where we conversed with Ben Johnston and I was quite taken with what he had to say. His argument for just intonation was strong yet friendly. Out of this, there was a structure of Erv's I was working with almost exclusively in 31 and decided to make a just intonation version of it in brass tubing. 

The difference between the just and tempered version in 31 was quite overwhelming in sound for me. I found myself converted to Ben's promotion of just intonation, despite Erv’s resistance at the time, even though he saw advantages to both.   

The building of these instruments was possible in that the money needed could be spread out over a long stretch of time. For example, the money needed for frames or later resonators could be acquired when I was able to save up to buy the material. This worked well too as often there was quite a bit of experimentation that was needed before later decisions were made. 

Erv had a vibraphone made out of two sets of Jenco vibes that was a subset of the just intonation scale of my brass chimes. I mounted and added resonators to the vibraphone bars and soon afterwards Daniel Wolf gifted me with a large quantity of padouk wood. This was used to make a matching marimba. 

A performance of mine at Betty Freeman's house was how I first met Lou Harrison and Bill Colvig. Together they developed a series of gamelan-like ensembles. Lou impressed upon me that while he liked Partch's instruments, he felt they did not always work together well and that his own approach was to develop orchestras or ensembles as a single unified group instead of being the result of unconnected instruments. This insight influenced my course from then on.  

Thus, I first developed instruments upward in range. Then, I followed Partch’s example by using a subset of my tuning in the bass range to keep the ensemble of instruments a reasonable size. Two smaller reed organs which had become out of fashion provided sustain tones to fill the range of the scale from top to bottom.  

A new problem arose and that was the size of these instruments. Doing each show was of major difficulty in that each instrument required its own vehicle for transportation. Regardless, I used these instruments for 15 years. 

Someone gave me a small 12 tone vibraphone and there was a tuning I had explored on another organ to which I decided to retune the vibraphone. I liked working with this scale and thus another ensemble developed over time. This one was based more on the recycling of pre-existing instruments by retuning them since I was using a 12-tone subset. The question of recycling, especially of wood, has become more and more an issue as rosewood and many hardwoods are endangered. The source of what I ended up with were often from incomplete instruments where the bars exist but somehow the frame is gone. eBay was my common source. 

A bass marimba was the important milestone to this ensemble. But Harry's (Partch) instruments presented features that I had not yet completely explored. I looked toward the diamond marimba again and its relatives that all involved the ability to sound chords by dragging over the bars. My tuning was too different to incorporate Harry's design but remained an inspiration. One weakness of his ensemble I felt was the low volume of the strings which was his source for making glissandos.

To create a glissando-making instrument, I had to expand my scale to 37 tones using four different sets of glockenspiel bars. This filled in many of the gaps and was loud enough and produced glisses with slight variations in pitch sizes. All the notes were placed in a single row almost three metres long. Thankfully, the instrument, called the Escalade, divides in half for easy transportation. It also now has a somewhat smaller relative of a wooden 22-tone subset of the 37, also arranged in a row, suspended over the 37 tone Escalade.

Who, then, plays these instruments? This is a major problem, more so since I moved to Australia where I am less known than in Los Angeles, so in a sense my situation here is similar to what it was in the 80s there (in more ways than one). The result is the people who play these instruments have more of a pop music background. In general, I have often found them more open-minded and more flexible and willing to give an unfamiliar instrument a go, so I write parts with these specific people in mind. Something not uncommon in jazz.

It is understandable that classically trained players would be less interested in playing on new instruments when they have invested time and energy in developing skills upon their own instruments. On the other hand, for me to use them can be awkward as their very nature leans toward something quite different. Omitting them altogether often fosters a subtle hostility of my approach to expanding music that doesn't include Western instruments as the best place to start. Ben Johnston commented at my first meeting with him how a finely tuned orchestral ensemble could provide the supportive environment to guide players to being able to play in different intonations in the future.

Nevertheless, the most fruitful area of exploration has been in combination with film and shadow theatre. Through my former work as a scenic artist in Los Angeles I developed my own skills in these areas and once again this relates to Partch's idea that we all have different aspects within ourselves. What James Hillman referred to as “the inner commune” that our art should allow to come forth to realise in full. In many ways, I think of myself as much connected to theatre as music. This too was Partch's desire to return to a less specialised medium he saw in the Ancient Greeks. 

A poor orchestra is what I work with, but it remains modular and expandable to fit any vision that arises. It is open to many futures.

 

LAKE ALOE FESTIVAL release

We are excited to release our field recording from the port of Barsa. Most of the information can be found on our bandcamp page LAKE ALOE FESTIVAL but here we add the both the relationship between the tempos and the the metric subdivisions.

MONUMENT OF DIAMONDS recording now available

Another Timbre has released a work of Kraig Grady called Monument of Diamonds. Composed over a two-year period. It uses a 17 tone scale which expands upon the 12 tone merta-slendro tuning common to the Anaphorian shadow ensembles throughout the island. Grady considers it  one of his best and one of his most beautiful compositions and a useful sound work to everyone. Here is where you can get it along with two sound extracts.  https://anothertimbre.bandcamp.com/album/monument-of-diamonds . Cover artwork generously provided by Fred Tomaselli,

LLAMA ISLAND

[moved here from other temporary blog] While discovered in 2009 by Joan Taylor, Llama Island has only recently come to the attention of the music world of Anaphoria Island despite it being within a two days southerly sailing distance. The indigenous inhabitants of that island have been aware since ancient times of how well their island 'tiles' space in an aperiodic way as the sole unit. One would be hard-pressed to find a single structure on the island that has not been decorated with it. The Anaphorians have been nevertheless more interested in using it musically. One of these has been as 'tonalities' on generalised keyboards. Another traces the shoreline around 13 hexanies where 7 hexanies are presented complete while 6 are incomplete having only 5 tones due to the missing of 3 internal tones. This pathway exhibits a bias that is musically useful to some in that on the map presented here the vertical appears 20 times, the diagonal down to the left 16 times and the one to the right 12 times. Thus one can accent some intervals more than others over the secession of 48 intervals around its shore. The island can be rotated in 6 ways or simply varied in 24 different ways by seeding it with the permutations of the tetrad that one uses to generate the hexany.
P.S. There is an additional 5 hexanies which exist in the negative; two of these are complete and 3 are incomplete with only 5 tones