Compositions

New Works


Sound Worlds
(ongoing)

This is an ongoing series of sound explorations. It is a little like painting in sound, completely free from the restrictions of notation, instrumentation, interpretation and temperament. Of course these elements are freely available as well. At other times the direct manipulations of "found sounds" forms the entire world. It certainly isn't composing, it is doing! The process becomes the world! It is capturing the sounds unfolding through physical space freely transformed during the capture or after. There aren't alot of ideological restrictions here! It is whatever occurs. Sound Worlds V and VI can be considered Xenharmonic. While they both have distinct pitch material the pitches are "floating" and correspond to no scale. They are outside harmony.

Book I
Sound World I Mp3 (4:47) (6.58MB) ~ YT
Sound World II Mp3 (5:00) (6.86MB) ~ YT
Sound World III Mp3 (4:16) (5.86MB) ~ YT
Sound World IV Mp3 (4:10) (5.73MB) ~ YT
Sound World V Mp3 (20:11) (27.7MB) ~ YT
Sound World VI Mp3 (14:00) (19.2MB) ~ YT




Techno Dances
(forthcoming)

This is a new series that I will slowly populate. Most of the dances are already written. They just need to be realized. Everything is so very time consuming!

Techno Dances
Chernobyl Meltdown Mp3 (7:38) (10.4MB) ~ YT




The Monsters
(ongoing)

These pieces are on every level so time consuming, complex and meticulous to realize that they all get monster names! In 12Et the perfect fifth and fourth are almost pure being only around 2 cents flat and sharp. This is a great sound for these intervals (and by extension the major seconds and minor sevenths) but unfortunately the major and minor thirds and sixth are around a seventh of a semitone sharp and flat (around 14 and 15 cents).

Moving to 31Et we have the opposite case. The major thirds and minor sixths are almost pure and the minor thirds and major sixths are reduced to around 6 cents flat and sharp. Unfortunately the perfect fifth and fourth are now around 5 cents flat and sharp. This isn't so bad for the perfect fifths and fourths, but by extension the major seconds and minor sevenths are twice that flat and sharp. While even this isn't so bad there is a very noticable sourness when attempting to work with extended harmonies like dominant sevenths and diminished and augmented chords in 31Et. This is precisely the reason these extended harmonies are so under-used in Renaissance keyboard works which are historically tuned in 1/4 Syntonic Comma Meantone (which is almost identical to the intervals of a twelve note subset of 31Et). These extended harmonies just do not blend well and sound out of tune, especially when compared to and in the context of the very excellent triadic harmony. Music is written by ear and the ear rejects the out of tuneness of these extended harmonies. When the major third sharpened historically through Well and Equal Temperaments these dominant sevenths and diminished and augmented chords became useful and the basis for the emerging dramatic music in the beginning of the Baroque era.

This fortunately leads us directly to the most excellent temperament of 43Et. 43Et sits right in the middle between 31Et and 12Et. The major thirds of 43Et are tempered sharp by almost the same amount that the perfect fifths are tempered flat or around 4 cents. This is almost identical to 1/5 Syntonic Comma Meantone. The extended harmonies in 43Et (as in 12Et) become useful once again except 43Et is about 3 times more in tune than 12Et. Without a doubt for me, 43Et or a subset of 43Et of any number of notes is really the next and best step beyond 12Et, being able to completely absorb excellently the harmonic potential of 12Et while hugely increasing it's tuning and as well introducing new and subtle chromaticisms and intervals. Of importance to note is that 12, 31 and 43Et all temper the major seconds (9/8 and 10/9) and minor sevenths (16/9 and 9/5) to a single interval. They are all "meantone" temperaments in a manner of speaking.

Not so with 53Et. We now need 8 diatonic notes in order to completely realize the 6 major and minor triads of a single key: D F A C E G B D where the first major second D is a 10/9 interval while the second D is a 9/8 interval. This greatly complicates writing music and certain progressions become impossible without having to sometimes slide between a 10/9 and 9/8 interval which can sound disconcerting and unpleasant unless handled with great care. 53Et however is a miracle temperament and practically can be considered synonomous with 5 Limit Just Intonation. Even high number 5 Limit ratios can be approximated by 53Et to a few hundreths of a semitone. 53Et is almost identical to 5 Limit Just Intonation. Even a purists who insists on working everything out with ratios might as well just use 53Et if working with 5 Limit ratios. With 53Et all our major, minor and perfect intervals are for all extensive puposes almost identical to pure 5 Limit Just Intonation.

Of course if we want pure Just Intonation for higher Limit ratios like 7, 11 and 13 then we have to give up having an equal temperament and utilize specifically a select set of notes to meet our ends such as Harry Partch did in his 43 notes to the octave. While 53Et approximates remarkably 5 Limit Just Intonation, 53Et's approximations of 7, 11 and 13 Limit ratios are hit and miss. We have to go all the way to 171, 342 and 494Et to miraculously approximate 7, 11 and 13 Limit ratios almost identically.

The reader is referred to the many chapters of the Compendium Musica and the Technical Notes to the Monsters.

The Monsters

Songs
(forthcoming)

For now just an instrumental version of the song "Floating Away".

Floating Away (Instrumental Version)
~ Mp3 (7:19) (10.0MB) ~ Sheet Music ~ YT