Thursday, September 26, 2019


It has  been desirable to be able to play chords on a mallet instrument in a fashion similar to what can be done on Harry Partch's  Diamond Marimba and Quadrangularis Reversum where one can scrape a mallet downward as in the former or upward in the latter to arpeggiate a full harmonic or subharmonic hexad.
What is presented here preserves this spirit of being able to scape  triads that mimics the 6-7-8 harmonic triads and it inversion . This scale which can find within Wilson's Meru scales found here
It can do so in multiple octaves and while preserving the conventional low to high arrangement of tones.  The layout coincides with Wilson's  3/5 keyboard which is constructed from his gral keyboard guide found here

This scale forms also a 17, 22, 27, 32 and 37 tone scale where it fills in the gaps as close as one can get to an equal system. This same arrangement can still be used by adding each new set of five tones  placing them below each of the ranks of bars. One could also apply this to a tempered version where the bottom set of pitches were duplicated at the top in the appropriate place making an instrument where each triad and its inversion could be easily played.

This post has been edited to replace this image below. The layout above has been chosen over this one since in the 17 tone version which i am making it places the added tones up above and the more common notes down below. Since i am using xylophone bars it is quite easy to make the bars sound so finding it easy to arpeggiate either up or down. Also i am finding that pentatonic like  arpeggios are quite nice sounding so extra happy with these lay outs.

Monday, April 23, 2018


As an island nation of exiles and foreigners, the assumption has always been that the genetic makeup of the Anaphorian people would be as mixed as the world at large. Well, surprise surprise. We now know this not to be the case.  DNA expert Jonathon Grasse of the Panpsychic Institute who has spent the last three years taking samples of any and everyone has come up with results no one expected, especially him.  Grasse found a universal set that seemed to be present in all inhabitants. Enough suspense! Here are his results. 

Escaped Cultivar 37%
Non-glacial Erratic 29%
Bee 17%
Bore Tide 13%
Antidote of Aether 3%

The remaining 1% seemed limited to the following almost exclusively.

Meru Aloe 
Moss of Vale
Alluvial Fan 
Igneous Rock
Redwood Tree
Galician Porcupine

It is worth noting that there is a group in the Anaphoria midwest who identify as totally Bee even though this DNA was no higher than the rest of the island. Despite this, there is, and there has been no problem with their widespread universal acceptance islandwide.

Grasse said he was humbled in how helpful everyone was with some volunteering their own time to help and in even providing transportation to some of Anaphoria's most remote locales. Asked how he happened to pick Anaphoria as a place to investigate " he said he wasn't quite sure, but thought it might be his own DNA, "Apparently I’m 41% igneous rock, 32% redwood tree, 18% Galician porcupine, and 9% midwestern United States redneck." 

Tuesday, March 13, 2018


The Archives of Anaphoria is pleased to present from the very very depth of its archives.....
Historic Recordings from 1935-1952
Digipak CD only. limited run of 300

Assembled by Banaphshu Tollan and Kraig Grady

Thanks to the miracle of modern audio technology, both wire recordings and early tape recordings made by Richard Tollan, Anaphoria's first long term Western resident, are presented for the first time. The recordings offer a window into a dark distant past forgotten by other traditions on the island as well as more modern styles. Little is known of the context in which this music was created, but it still speaks for itself across time to change how we think and hear the music from Anaphoria. The utmost care was taken to preserve the often lo-fi quality of the originals. For this reason, it has been decided that mp3 or streaming formats would undermine the recordings and will not being offered at this time. This release serves as a prequel to the already existing discography from Anaphoria. These recordings were first heard publicly on Radio Nabu Congul FM on 11/11/2017 to commemorate the 25-year presence online of the Embassy of Anaphoria Island. Order on this page

Thursday, January 25, 2018

Composition for Composers #1

Composition for Composers #1
These compositions seek to address the situation where there are more worthy composers than concert space can accomodate.

Nuclear Simphony #1

for 2 to 18 composers

There are 5 movements maximum in a performance each involving following number of composers. Each movement can be performed separately

Movement A-5 composers
Movement B-2 composers
Movement C-3 composers
Movement D-2 composers
Movement E-5 composers

The following is determined ahead of time.
the instrumentation
a set tempo throughout.
the tuning or tunings

Each movement can be between 90 seconds to approx. 7 minutes.

The composition is constructed in three steps.

A. The construction of a nuclear melody.
The nuclear melody is composed with each composer adding an equal part to the melody in rotation (from 1 to 4 notes) . The goal should be to maintaining enough simplicity for subsequent lines to later be written without disrupting the flow. Multiples of a quarter note with a half note being the common unit. The melody ends when a composer chooses to end for their turn.

B. Once the nuclear melody is written each composer determines where they are going write and where they are going to rest with beginning and ending points coinciding with the nuclear melody. this information is shared between composers and composers are allowed to modify their decisions.

C. final parts are written by composers  and shared either before or in rehearsal with the inserts of further rest allowed and minor changes.


Nuclear Simphony #2 for percussion
(two versions - pulse based or time based)

for 3 to 16 composers each writing for one percussion player.

The following is to be determined in advance:
A.The instrumentation based on available percussion instruments.
B. The number of movements (1-x) each with a set tempo or time scale

This composition is based on the idea of a nuclear melody except of rhythm. The next step is instead of having a set rhythmic point that is shared by all,  rests or silences are used instead

The composition is constructed in three steps.
A. Taking the set tempo or timescale, each composer in rotation composes points or spans of rest in which will remain silent during the piece. If a pulse is present, A rest should be at least one beat long. A composer chooses the ending of the piece instead of inserting further rest. 

B. Each composer composes their own section incorporating these areas of rest.

C. upon comparison before or during rehearsal slight modifications of each part is possible.
New party pieces
For any number of composers
starting at the end each composer composes a bar of music plus 2 notes of the preceding measure. and exquisite corpse in reverse.
The Curved Space of Tetrachords
for any number of composers
(two possible versions)
live version:
instrumentation is determined beforehand.
each composer picks a tetrachord in a specific range and composes up to 20 seconds of music using it solely. volume is determined by the duration with ………..
each composer chooses the duration of rest following it up to 30 seconds afterwards. Pieces are played back in random order.

electronic version:
Each composer picks a tetrachord in a specific range and composes and records it

Wednesday, August 23, 2017

The Term Microtonality: Strict or Loose interpretation.

I try to avoid the word Microtonality like the plague. I never mention it on releases except for one time i included one sentence for which I was called out for by one critic (sic?).
If though we are going to tolerate the term , which encompasses more and more each day, perhaps it might be good to draw the line in the sand somewhere.
As a start and to get to the point:

 It should be intentional. For instance, accidental deviations from say, the standard scale need not apply. A lack of directionality might also be in keeping here, say not the result of a random choice of objects or even a process. A scale though determined by ear should be included as a valid method even if no math is involved.

 It should be a feature in the approach to the music. If not then perhaps we might start calling the miked acoustic guitar of a folk singer, electronic music. Technically it is, but also trivially too. Basically if it can removed without changing the character and expression of the music, we might be better to refer to the music what features the music is actually using.

In terms of other cultures, for the time being, it seems ok to refer to any intonational practice outside one's own as microtonal. In turn those in those culture should in turn be allowed to return the favor. In the long run, it might be better to limit it to being outside the cultures at hand, assuming an uncentered norm, even if the practice seems limited to one cultural practice at the moment.

For myself , I am going to use my own term Mesotonal explained back here

Monday, August 21, 2017