Partch and Synthesizers vs. Harmoniums

Johnny Reinhard brings up the interesting topic of Partch's
attitude towards synthesizers. Given the problems with
harmoniums, he did indeed receive a Guggenheim with Marshall
to build an electronic instrument, but this project was
soon abandoned and the funds used for recordings and upkeep
or construction of acoustic instruments. =


It is unclear how serious the electronic project ever was.
I have heard more than once that it was a subterfuge by
Marshall to get the Guggenheim to otherwise support Partch's work.

Partch would later write (in the second edition of _Genesis_,
pp. 210):

"The musicality, versatility, and potentialities of these
old-fashioned harmoniums are constantly amazing. I would not
trade my two Chromelodeons for any electric organs that I
have ever heard."

Even later, reportedly, when he was told about the Motorola
Scalatron project, he apparently reacted with resignation =

that it had came 30 years too late for him. Given the musical
limitations of the scalatron, with its tacky electic organ
swell, it is hard to imagine Partch ever actually using one.

Making an electronic substitute for a harmonium is an
interesting problem. The breath-like quality of the bellows,
the uneven voicing of the individual reeds, and the
variable response of the knee swells would all have to be
considered. In the case of the Chromelodeons, the double stops
and octave coupler introduce additional, considerations in that
the added reeds do not respond identically.

An alternative to this is manufacturing new reed organs.
This is still done in India, albeit in poor quality, and
I wonder if Indian makers might produce more useful instruments
if commissioned. =