The time has come to say no to twelve tone equal. Ask Ivor Darreg. He knows.
This project is, among other things, an argument for the further exploration of microtonal/xenharmonic tunings by more musicians. If you find this argument compelling or completely repulsive, please let me know.
This project is also a response to the recognized need for available on the internet, for the curious. The curious will never hope to get anywhere without trying out their ears.
I was born on April 8, 1985. I began composing around '90, discovered The Rite of Spring around '99, and discovered the modern microtonal movement around '03. I graduated from Rice in '07 and will attend in the fall, connecting microtones with radical social change etc.
This is a recording-based project: most of the pieces exist more as recordings than as performances. It is a creative sandbox of sorts, and the quantity varies. When I get some recordings I'm really proud of, I'll probably put them somewhere else. When I finally get around to becoming a competent performer, I'll probably start a different page.
Microtonalists I enjoy: Hayden Chisholm, Catler Bros, Gerard Grisey, Ivan Wyschnegradsky, Harry Partch, Bill Sethares, Prent Rodgers, Mats Öljare. Normal people: Stravinsky, György Ligeti, Olivier Messiaen, Poulenc, Lutoslowski, Rzewski, Nancarrow, Lois V Vierk,
iMac. Alesis QS8, E-mu Proteus augmented by the power of Scala. VoiceTweaker microtonalable autotuner. Otonal organ. 31-tone bassoon after Johnny Reinhard. Udderbot. Kalimba. Autoharp. Harp. Musical saw.
I love you, probably.