Yahoo Tuning Groups Ultimate Backup mills-tuning-list Sonic Arts Concert

I want to say a few words about the concert last Thursday
at the Sonic Arts Gallery in San Diego. The concert opened with
a duet for 'cello and synthesizer in 15-tet by Brian McLaren
and Jonathan Glasier. Brian played a chordal accompaniment to
Glasiers melodies. The second piece was for synths in Ensoniq's
"Arabic 1" tuning. What is this tuning? Nobody seems to know exactly.
but whateve it is, it sounded great.

The third selection was an ambitious tuned percussion study employing
Erv Wilson's aluminum bar "Hebdomekontany" array (the 4)8 [1 3 5 7 9 11
13 15] degenerate 70-any with extra notes added to bring the number back
up to 70 pitches per octave. I believe this is the instrument shown at
the Hollywood Bowl Museum show several years ago and formerly housed
at John Gibbon's Bell Garden, now sadly burnt down. It has been remounted
by Glasier recently. Accompanying the hebdomekontany were the Quadulator
(Wesley's new tuned tongue instrument), which I have mentioned
elsewhere,
cymbals and synth. A visiting musician from Sedona, AZ named Leonardo
collaborated on the construction of the Q and played the cymbals in
this piece.

Bill Wesley was featured in the next set. The first was a a virtuoso
performance on the "Rhythm Machine," a large array of infrasonically
tuned, weighted metal tongues which rattle against fixed posts. This
instrument has a wonderful clattering, chattering, rattling sound in
Bill's hands. It is tuned in 4ths and octaves, but most of the
pitches are unaudiblly low and generate sounds by striking posts. It
was accompanied by Brian on synth and Glasier on a hand beaten drum.

Bill next performed on his "Nail Violin," an set of large and small
nails sticking out a resonator box. It is played by stroking the nail
heads with rosin-coated fingers. The sound is somewhat reminiscent of
the glass harmonica and ranged from flute-like tones to rather breathy
and raspy, string-like timbres. Glasier accompanied Bill on a synth in
19-tet, using a variety of other timbres.

The next piece was 17-tet duet for guitar and synthesizer, the latter
ably played by Elizabeth Glasier. I may be wrong, but I think this is
her first appearance in SAG concerts.

Wesley returned to perform on his "Array Guitar," nine strings stretched
over a board with high frets metal frets. It is played by "hammering on,"
like the Stick, but the loose strings and high frets allow for wide pitch
bending. The sound might be likened to "blues sitar." BIll also played
his "Array Slide," an out-sized slide guitar type of instrument and
demonstrated one of his multioctave polyphonic Kalimbas (Mbiras).

The final piece was the premier of Brian's "Microconcerto for Megalyra
and Synthesizer," in 19-tet. The solo passages were played live by Brian
on Ivor Darreg's Megalyra (another slide guitar type of instrument)
while a computer and synth provided the orchestra. I found the orchestral
parts remininiscent of some of Brian's earlier 19-tone music, but he
says there was no conscious quotation. It is a very nice piece which I
am looking forward to hearing again soon on tape.

Ralph David Hill was in the audience. Some of you may recall his tapes
on Just Intonation that are distributed by the JIN. He lives in San Diego
now and has just gotten new and more powerful hardware for synthesis.

--John

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🔗PAULE <ACADIAN/ACADIAN/PAULE%Acadian@...>

🔗Johnny Reinhard <reinhard@...>

How about summation tones? Together summation and difference tones are
combination tones. When in synch regarding wave form, at high amplitude
and with substantial duration, combination tones take on the effective
status of full musical tones and generate further combinations. This
chain reaction is responsible for the "harmonic clouds" of La Monte
Young's The Well-Tuned Piano.

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@ios.com

On Wed, 12 Jun 1996, PAULE wrote:

>
> John Maxwell Hobbs wrote:
>
> >That's probably
> >what you're hearing that's not subject to the attack and release
>
> Nah, the tones I heard were higher than the fundamentals of the notes
> LaMonte was playing, so they couldn't have been difference tones. They were
> very sine-wavy; have to have been overtones.
>
>

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🔗PAULE <ACADIAN/ACADIAN/PAULE%Acadian@...>

🔗DMB5561719@aol.com

In a message dated Thu, 13 Jun 96 12:02 EST,
PAULE
writes:

> Did anyone else catch Jon Catler's Gershwin quote?
>He was obviously having fun up there!

He did it both nights and on the cd too.
However: live, he did it differently each night!

just my 21.506 cents,

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Sonic Arts Concert

🔗John Chalmers <non12@...>

🔗PAULE <ACADIAN/ACADIAN/PAULE%Acadian@...>

🔗Johnny Reinhard <reinhard@...>

🔗PAULE <ACADIAN/ACADIAN/PAULE%Acadian@...>

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