Yahoo Tuning Groups Ultimate Backup tuning My New Composition

Hi Aaron,
Nice work. Too bad we didn't cross paths while I was living in
Chicago. You may be interested in one of the instruments I built
(while living there): a keyboard called the tonal plexus. With this
keyboard, music in any tuning can be performed.

http://www.members.aol.com/pitchcolor/instruments/plexus.html

Hope to hear more music from you.
Best wishes,
Aaron Hunt

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> Hello all,
>
> I'd love your feedback on my new work 'The Juggler', available
as an mp3 file from:
>
> http://www.aaronandlorna.com/audio/juggler.mp3
>
> It's a 19-tet composition. While you at it, check out a couple of
other xentonal
> works on the same site from this page:
>
> http://www.aaronandlorna.com/aaron_works.html
>
> I'd love your feedback. Thanks!
>
> Cheers,
> Aaron.

🔗Joseph Pehrson <jpehrson@rcn.com>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

/tuning/topicId_46866.html#46866

> Hello all,
>
> I'd love your feedback on my new work 'The Juggler', available as
an mp3 file from:
>
> http://www.aaronandlorna.com/audio/juggler.mp3
>
> It's a 19-tet composition. While you at it, check out a couple of
other xentonal
> works on the same site from this page:
>
> http://www.aaronandlorna.com/aaron_works.html
>
> I'd love your feedback. Thanks!
>
> Cheers,
> Aaron.

***Feedback... Well... er... I guess I have to say it's one of the
finest microtonal compositions I've ever heard! Congrats!

I listened to the other pieces on your site, and was also impressed
by the CSOUND piece and the pop one, but I think I agree with you
that "Juggler" is the best.

Now we have *two* fine microtonal composers by the name of Johnson...
(quelle dommage!) :)

Nice "meeting" you,

Joseph Pehrson

🔗Danny Wier <dawiertx@sbcglobal.net>

From: "akjmicro" <akj@rcn.com>

> I'd love your feedback on my new work 'The Juggler', available as an mp3
file from:
>
> http://www.aaronandlorna.com/audio/juggler.mp3
>
> It's a 19-tet composition. While you at it, check out a couple of other
xentonal
> works on the same site from this page:
>
> http://www.aaronandlorna.com/aaron_works.html
>
> I'd love your feedback. Thanks!

That is definitely one of the better non-12-tone compositions I've heard.
It's noticeably "exotic" in its use of 19-tone, yet it's not inaccessible
and "out of control", like a lot of experimental music (stuff that just
makes no sense). I've listened to the other mp3 files on your page. I think
I've seen your website before, in fact. Found it in a Google search for
53-tone compositions.

Which reminds me that I need to get to work on some new compositions. I've
got a few old MIDI files of piano stuff (all written from 1997 to 1999), but
they're all 12-tone -- though one of them *might* use an occasional
quarter-tone, or maybe not....

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
> --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> > Hello all,
> >
> > I'd love your feedback on my new work 'The Juggler', available as
> an mp3 file from:
> >
> > http://www.aaronandlorna.com/audio/juggler.mp3
> >
> > It's a 19-tet composition.
>
> aaron, this is a *fabulous* composition! everything sounds "right"
> and yet novel at the same time, and your compositional sense is right
> on the money. i think you may have even outdone blackwood at what he
> does best. i encourage everyone to listen to this piece, perhaps the
> best in 19-equal that i've ever heard!

<blushes> Thanks for the glowing review, Paul. I'm honoured !!! It was HARD
work. I spent about two months on 2:41 worth of music. One thing I've learned to
date--and this applies only to what works for me--I write better compositions when
I'm not seduced by algorithmic shortcuts. The only algorithm that I use now is
this--write, listen, change what sucks, repeat.

Thanks again!!!!

All the best, Aaron.

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, "Jon Szanto" <JSZANTO@A...> wrote:
> --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> > I'd love your feedback on my new work 'The Juggler', available as an mp3 file
from:
>
> I don't drop by too often, but I'm glad I scanned the posts today - nice piece! If it
is OK with you, I'll post a note about it on the Making Microtonal Music forum (if
you have bandwidth usage issues, drop me a line off-list - I won't post anything
without your permission).

You have my full permission....thanks for your interest!

>
> Did you do this with soundcard samples, or are you using a softsynth of some
type? It doesn't really matter, because you've done a very swell job of exploring
interesting melodic, harmonic and rhythmic elements.

My equipment was my Korg X5DR module, and two of my own Python scripts, one
for translating a notational ascii representation of the 'score' to a midi file, the other
script is a homegroen midi-file player.

Anyone who runs Python on Linux, and wants the scripts, give me a holler.

> Looking forward to more...
>
> Cheers,
> Jon

Thanks, Jon!

Best,
Aaron.

🔗akjmicro <akj@rcn.com>

🔗Jon Szanto <JSZANTO@ADNC.COM>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> You have my full permission....thanks for your interest!

Excellent - I'd like those people to know about it as well.

You know, the "juggling" involved isn't just in the title! Congrats on not only the piece but coming up with yet a different way to work with microtonal composition/production. (But don't you *wish* it were a tad easier? :)

> Anyone who runs Python on Linux, and wants the scripts, give me a holler.

I alway scream if I see a python...

Cheers,
Jon

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, "Joseph Pehrson" <jpehrson@r...> wrote:
> --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
>
> /tuning/topicId_46866.html#46866
>
> > Hello all,
> >
> > I'd love your feedback on my new work 'The Juggler', available as
> an mp3 file from:
> >
> > http://www.aaronandlorna.com/audio/juggler.mp3
> >
> > It's a 19-tet composition. While you at it, check out a couple of
> other xentonal
> > works on the same site from this page:
> >
> > http://www.aaronandlorna.com/aaron_works.html
> >
> > I'd love your feedback. Thanks!
> >
> > Cheers,
> > Aaron.
>

> ***Feedback... Well... er... I guess I have to say it's one of the
> finest microtonal compositions I've ever heard! Congrats!

Well, thanks ! <head swells, blushing, bursting with guilty pride>

I'm overwhelmed by the positive response from everyone...I keep my humility by
listening to Beethoven's 8th symphony. Like I said, it took two months to write the
'Juggler'. Brahms woke up, wrote a fugue with his danish and coffe, and got started
on real work (say, the 4th symphony). Prolific I am not. (yet)

I am heartened to know that composer friends tell me that when you compose
regularly, esp. the same time of day every day, the muse brings gifts with ' regular
flow', and quite often....

> I listened to the other pieces on your site, and was also impressed
> by the CSOUND piece and the pop one, but I think I agree with you
> that "Juggler" is the best.

Yeah. The CSOUND piece is a different 'me'...an algorithmic, lazier me. I like it,
but I almost can't take credit for it, because 'Cecilia', the CSOUND algorithmic
front-end, did most of the work. The pop piece was edited algorithmic chaos. I do
like the editing!

> Now we have *two* fine microtonal composers by the name of Johnson...
> (quelle dommage!) :)

Shucks!!!!! Thanks!!!!

> Nice "meeting" you,

We've talked before about the 7-tet approximation I fumbled upon, no?

Best,
Aaron.

🔗akjmicro <akj@rcn.com>

P.S. to this thread----
Flattered as I am, I also wanted to say that I think Toby Twining , BenJohnston
and Wendy Carlos certainly have me beat, and remain my first inspirational idols!

Nonetheless, I thank you again for your feedback.... ;)

-Aaron.

🔗Graham Breed <graham@microtonal.co.uk>

akjmicro wrote:

>My equipment was my Korg X5DR module, and two of my own Python scripts, one >for translating a notational ascii representation of the 'score' to a midi file, the other >script is a homegroen midi-file player. > >
Is that a keyboardless version of this X5D I've got in front of me? Well, if I could be so bold, I'll suggest you're relying a bit too much on the harpsichord sound. There are a lot of quite-good sounds in the unit, and the best way to impress is to use a good variety of them. Also have some expressiveness through the key velocities (see the "16: ChorusClav" and "34:Slappin'" for how this might work).

But yes, it's a good piece, and does improve on repeated listening. Not that you'll have Beethoven worried -- plenty more work to do there.

I used to write my own binary files in hex, and then convert them into MIDI files using a Fortran program. That was a very convoluted way of working, so you're two steps ahead of where I was. It does mean you have to work slowly, but the results can be good because you have to think about what you're doing. And it removes the temptation to extend pieces beyond what the material allows. Still, I much prefer working with tunable real-time synths and a sequencer.

>Anyone who runs Python on Linux, and wants the scripts, give me a holler. > >
Yes, could be interesting. I'll add them to my pile of unlooked-at software ;-)

Graham

🔗Joseph Pehrson <jpehrson@rcn.com>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

/tuning/topicId_46866.html#46885

> --- In tuning@yahoogroups.com, "Joseph Pehrson" <jpehrson@r...>
wrote:
> > --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> >
> > /tuning/topicId_46866.html#46866
> >
> > > Hello all,
> > >
> > > I'd love your feedback on my new work 'The Juggler', available
as
> > an mp3 file from:
> > >
> > > http://www.aaronandlorna.com/audio/juggler.mp3
> > >
> > > It's a 19-tet composition. While you at it, check out a couple
of
> > other xentonal
> > > works on the same site from this page:
> > >
> > > http://www.aaronandlorna.com/aaron_works.html
> > >
> > > I'd love your feedback. Thanks!
> > >
> > > Cheers,
> > > Aaron.
> >
> >
> >
> > ***Feedback... Well... er... I guess I have to say it's one of
the
> > finest microtonal compositions I've ever heard! Congrats!
>
> P.S. to this thread----
> Flattered as I am, I also wanted to say that I think Toby
Twining , BenJohnston
> and Wendy Carlos certainly have me beat, and remain my first
inspirational idols!
>
> Nonetheless, I thank you again for your feedback.... ;)
>
> -Aaron.

***Well I hasten to add that the other pieces on your page weren't
quite up to "Juggler" standards, and it also doesn't seem that
you've really written all that much music as yet, unless I'm missing
something... ;)

Joseph

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, "Joseph Pehrson" <jpehrson@r...> wrote:
> --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

> > > ***Feedback... Well... er... I guess I have to say it's one of
> the
> > > finest microtonal compositions I've ever heard! Congrats!
> >
> > P.S. to this thread----
> > Flattered as I am, I also wanted to say that I think Toby
> Twining , BenJohnston
> > and Wendy Carlos certainly have me beat, and remain my first
> inspirational idols!
> >
> > Nonetheless, I thank you again for your feedback.... ;)
> >
> > -Aaron.
>
>
> ***Well I hasten to add that the other pieces on your page weren't
> quite up to "Juggler" standards, and it also doesn't seem that
> you've really written all that much music as yet, unless I'm missing
> something... ;)
>
> Joseph

No, you're not :) - I've written 20 minutes of electric guitar/piano music in 12-tet, a
Piano Toccata, countless songs which I now consider juvenalia, some atonal-funk
band music, sketches, exercises, countless throwaway algorithmic experiments,
and the pieces on my web page.

Yes, 'Juggler' stands for sure as one of my best - and I agree that the other pieces
are not as up there - although I quite like them anyway.

BTW, Joseph, I love your mp3 page...I've been familiar with a lot of names for
years doing Google searches for microtonalists...yours come up quite a lot.
Especially loved 'Hexy'...its tremendously colorful and 'alien' and 'off kilter' in a
sort-of 'spaced-out funhouse' way...words fail. And the dark mood of 'Blacklight' is
mesmerizing and transcendent...Great stuff!!

Best
Aaron.

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, Graham Breed <graham@m...> wrote:
> akjmicro wrote:
>
> >My equipment was my Korg X5DR module, and two of my own Python scripts,
one
> >for translating a notational ascii representation of the 'score' to a midi file, the
other
> >script is a homegroen midi-file player.
> >
> >
> Is that a keyboardless version of this X5D I've got in front of me?
> Well, if I could be so bold, I'll suggest you're relying a bit too much
> on the harpsichord sound. There are a lot of quite-good sounds in the
> unit, and the best way to impress is to use a good variety of them.
> Also have some expressiveness through the key velocities (see the "16:
> ChorusClav" and "34:Slappin'" for how this might work).

I think we have slightly different units....I thought I recognized those
cheezy-named patches, but I have only variants of them, like 'slap bass 1', etc.- at
least the 'A bank' ones I haven't erased because I wanted to replace the least
likely to use sounds with ones of my own creation.....

But, to justify my choices....really, the work was conceptually an acoustic
instrument conception which was realized on a sampler type instrument because
that's the easiest way to hear a 19-tet recorder and harpsichord piece.....

Since real harpsichords with one rank and no stop do not have dynamic gradation,
I didn't even think twice about avoiding key velocity variation, although I did use a
bit here and there with the recorder.

As a rule, I shy away from late 80's type sampler synth or overly glassy or digital
sounding synth sounds-just my personal taste. They make me think of Bon Jovi or
bad 80's 'hair metal' bands, and the association is one that I want to avoid at all
costs. I don't even want to satirize it!

> But yes, it's a good piece, and does improve on repeated listening. Not
> that you'll have Beethoven worried -- plenty more work to do there.

If I've got Beethoven worried, he's both overly generous and underly esteeming
himself ! ;)

> I used to write my own binary files in hex, and then convert them into
> MIDI files using a Fortran program. That was a very convoluted way of
> working, so you're two steps ahead of where I was. It does mean you
> have to work slowly, but the results can be good because you have to
> think about what you're doing. And it removes the temptation to extend
> pieces beyond what the material allows. Still, I much prefer working
> with tunable real-time synths and a sequencer.

I Agree. I would also say that the compositional discipline to over-extend or
over-write can be a problem in any medium. I have found, in my time doing this,
that a first draft is better than no draft, and we can always cut and edit and paste,
etc. It's rare to have a piece come out perfectly finished in one draft (at least it's
rare for me). Anyway, I echo that thinking about what you're doing is best !!

Best,
Aaron

🔗Joseph Pehrson <jpehrson@rcn.com>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

/tuning/topicId_46866.html#46900

>> > ***Well I hasten to add that the other pieces on your page
weren't
> > quite up to "Juggler" standards, and it also doesn't seem that
> > you've really written all that much music as yet, unless I'm
missing
> > something... ;)
> >
> > Joseph
>
> No, you're not :) - I've written 20 minutes of electric
guitar/piano music in 12-tet, a
> Piano Toccata, countless songs which I now consider juvenalia,
some atonal-funk
> band music, sketches, exercises, countless throwaway algorithmic
experiments,
> and the pieces on my web page.
>
> Yes, 'Juggler' stands for sure as one of my best - and I agree
that the other pieces
> are not as up there - although I quite like them anyway.
>
> BTW, Joseph, I love your mp3 page...I've been familiar with a lot
of names for
> years doing Google searches for microtonalists...yours come up
quite a lot.
> Especially loved 'Hexy'...its tremendously colorful and 'alien'
and 'off kilter' in a
> sort-of 'spaced-out funhouse' way...words fail. And the dark mood
of 'Blacklight' is
> mesmerizing and transcendent...Great stuff!!
>
> Best
> Aaron.

***Thanks so much, Aaron! Well, I've been told I have a pretty good
web presence, which is good since I only have a couple of pieces out
on commercial CDs...

The pieces download nicely from the mp3.com page to a portable mp3
player, my newest "toy..."

BTW, my wife dances to Hexy and some of the pieces, and manages to
capture the weird mood. (I had no idea she could do that until I saw
it one day...)

best to you!

Joseph

🔗Paul Erlich <perlich@aya.yale.edu>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> --- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
> > --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
> > > Hello all,
> > >
> > > I'd love your feedback on my new work 'The Juggler', available
as
> > an mp3 file from:
> > >
> > > http://www.aaronandlorna.com/audio/juggler.mp3
> > >
> > > It's a 19-tet composition.
> >
> > aaron, this is a *fabulous* composition! everything
sounds "right"
> > and yet novel at the same time, and your compositional sense is
right
> > on the money. i think you may have even outdone blackwood at what
he
> > does best. i encourage everyone to listen to this piece, perhaps
the
> > best in 19-equal that i've ever heard!
>
> <blushes> Thanks for the glowing review, Paul. I'm honoured !!! It
was HARD
> work. I spent about two months on 2:41 worth of music.

thanks for revealing that, aaron. it gives me hope. would you like to
describe some of the pitch structures you used in the piece, with
M:SS references if possible? i think that would be very edifying for
many of us. i think i heard some of the scales/pitch sets that have
been discussed here and on the tuning-math list in connection with 19-
equal . . .

One thing I've learned to
> date--and this applies only to what works for me--I write better
compositions when
> I'm not seduced by algorithmic shortcuts. The only algorithm that I
use now is
> this--write, listen, change what sucks, repeat.
>
> Thanks again!!!!
>
> All the best, Aaron.

🔗Paul Erlich <perlich@aya.yale.edu>

🔗Jon Szanto <JSZANTO@ADNC.COM>

🔗akjmicro <akj@rcn.com>

--- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
> --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

> > <blushes> Thanks for the glowing review, Paul. I'm honoured !!! It
> was HARD
> > work. I spent about two months on 2:41 worth of music.
>
> thanks for revealing that, aaron. it gives me hope. would you like to
> describe some of the pitch structures you used in the piece, with
> M:SS references if possible? i think that would be very edifying for
> many of us. i think i heard some of the scales/pitch sets that have
> been discussed here and on the tuning-math list in connection with 19-
> equal . . .

When I get a chance after I move into my new condo in October, I might be able to
give some kind of basic analysis by M:SS.... In the meantime, briefly, I can say
that I avoided vertical and arpeggiated dissonance, but favored xentonal motion
(modulation) in a very terraced fashion (except for structural cadences, where I
wanted neo-tonal implications). I think the vertical consonance accounts for the
immediate accessibility of 'The Juggler', while also letting the listener in on what I
call the 'slipperyness' of some of the 19-tet intervals.

For instance, I knew that in 19-tet, the xentonal intervals were (referenced from 0)
1,4,7,9 and their inverses 10,12,15,18. It's actually hard to justify 9 and 10 as
'xentonal' in a hard sense, they are after all, just two different kinds of tritone. But
there are two of them, which gives a composer a wonderful asymmetrical structure
to build with! But if anything highlights what I love about 19-tet, its the 0-4 interval,
the augmented 2nd, which split the 19-tet perfect 4th in two, and the 0-1 small
minor 2nd, which shocks ears accustomed to 12-tet. I really played alot with
sliding from consonant triad to consonant triad by root motions of these intervals.

The following is the inner stream of consciousness I have about the aesthetics of
composing:

######## begin stream of consciousness:
Of course, as soon as you start to compose with tricks like this, you can easily
get in a rut. So I made sure to step back, and always look at the balance and
variety. Too much of what I described can get very old and/or very disorienting
very quickly. Nothing is worse than feeling like a one-trick pony!

Another thing - don't give in to always stating the complete implications of a given
structural or compositional device or procedure.

By this I mean don't explore ALL possible combinations of a given combinatorial
thing, but only SOME of them. The piece will lose character and freedom the more
rigid and obsessive one gets with systematizing....break the symmetry. And when
you've broken it, then you can be symmetrical again. Contrast, contrast, contrast.
but not TOO MUCH contrast!!! Avoid confusion. The only principles that don't ever
contradict themselves in composing are balance, taste, and seduction. These
come from a mysterious, non-algorithmic place full of spontaneous imagination and
color.....
########### end stream of consciousness

I'm writing too long, mainly cause I'm thinking out loud here...but it also seems to
me that if I think too much about what I want to write, instead of listening to that
constant, organic stream of sonic events in my head, and flirting with it, I am less
successful, i.e. the pieces don't have an immediacy to them. I could only tell you
after the fact why, but not during. Like Stravinsky said "Theory is after the
composing"...I paraphrased that. Does anyone know the actual quote? It's from his
lectures......

Cheers,
Aaron.

🔗Joseph Pehrson <jpehrson@rcn.com>

--- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:

/tuning/topicId_46866.html#46911

> --- In tuning@yahoogroups.com, "Paul Erlich" <perlich@a...> wrote:
> > --- In tuning@yahoogroups.com, "akjmicro" <akj@r...> wrote:
>
> > > <blushes> Thanks for the glowing review, Paul. I'm honoured !!!
It
> > was HARD
> > > work. I spent about two months on 2:41 worth of music.
> >
> > thanks for revealing that, aaron. it gives me hope. would you
like to
> > describe some of the pitch structures you used in the piece,
with
> > M:SS references if possible? i think that would be very edifying
for
> > many of us. i think i heard some of the scales/pitch sets that
have
> > been discussed here and on the tuning-math list in connection
with 19-
> > equal . . .
>
> When I get a chance after I move into my new condo in October, I
might be able to
> give some kind of basic analysis by M:SS.... In the meantime,
briefly, I can say
> that I avoided vertical and arpeggiated dissonance, but favored
xentonal motion
> (modulation) in a very terraced fashion (except for structural
cadences, where I
> wanted neo-tonal implications). I think the vertical consonance
accounts for the
> immediate accessibility of 'The Juggler', while also letting the
listener in on what I
> call the 'slipperyness' of some of the 19-tet intervals.
>
> For instance, I knew that in 19-tet, the xentonal intervals were
(referenced from 0)
> 1,4,7,9 and their inverses 10,12,15,18. It's actually hard to
justify 9 and 10 as
> 'xentonal' in a hard sense, they are after all, just two different
kinds of tritone. But
> there are two of them, which gives a composer a wonderful
asymmetrical structure
> to build with! But if anything highlights what I love about 19-tet,
its the 0-4 interval,
> the augmented 2nd, which split the 19-tet perfect 4th in two, and
the 0-1 small
> minor 2nd, which shocks ears accustomed to 12-tet. I really played
alot with
> sliding from consonant triad to consonant triad by root motions of
these intervals.
>
> The following is the inner stream of consciousness I have about the
aesthetics of
> composing:
>
> ######## begin stream of consciousness:
> Of course, as soon as you start to compose with tricks like this,
you can easily
> get in a rut. So I made sure to step back, and always look at the
balance and
> variety. Too much of what I described can get very old and/or very
disorienting
> very quickly. Nothing is worse than feeling like a one-trick pony!
>
> Another thing - don't give in to always stating the complete
implications of a given
> structural or compositional device or procedure.
>
> By this I mean don't explore ALL possible combinations of a given
combinatorial
> thing, but only SOME of them. The piece will lose character and
freedom the more
> rigid and obsessive one gets with systematizing....break the
symmetry. And when
> you've broken it, then you can be symmetrical again. Contrast,
contrast, contrast.
> but not TOO MUCH contrast!!! Avoid confusion. The only principles
that don't ever
> contradict themselves in composing are balance, taste, and
seduction. These
> come from a mysterious, non-algorithmic place full of spontaneous
imagination and
> color.....
> ########### end stream of consciousness
>
> I'm writing too long, mainly cause I'm thinking out loud here...but
it also seems to
> me that if I think too much about what I want to write, instead of
listening to that
> constant, organic stream of sonic events in my head, and flirting
with it, I am less
> successful, i.e. the pieces don't have an immediacy to them. I
could only tell you
> after the fact why, but not during. Like Stravinsky said "Theory is
after the
> composing"...I paraphrased that. Does anyone know the actual quote?
It's from his
> lectures......
>
> Cheers,
> Aaron.

***Hi Aaron,

I can easily "second" what you are saying here, particularly in
your "stream of consciousness" section.

For a while, at the beginning of my explorations of the "Blackjack"
scale, I was using Paul's lattice literally to plot "common tone"
harmonies.

I was able to make some pretty decent pieces this way, I think, but I
was working "against" the plotted harmonics, which were
somewhat "stiff" and contrived.

Now I am working more in a "free" way with the lattice. I just go
for the sounds that I *hear* and then try to figure out what is going
on afterward. (Sometimes I adjust the "afterward" consciously to
increase my intended effect...)

I think that's somewhat what Stravinsky was talking about.
Unfortunately I can't find the quote here.

Joseph

My New Composition

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