Yahoo Tuning Groups Ultimate Backup tuning Looking for some history info.

I am looking for some info about the development of microtonality in
Western music around 1920. There was a lot of quarter-tone talk around
the globe then, and I wondered if anyone gets credit for being
the "first". If you'd agree with me that it is indeed Möllendorf in
1917, does anybody know when he began his work? In addition to that, I
have info on Partch, Ives, Carillo, Cowell and Haba. Am I missing
anybody?

Thanks to the list for your colective wisdom.
Jennifer Borkowski

Greetings,

Arthur Fickenscher developed his Polytone's first iteration (German
patent circa 1914). Later US patent circa 1940 (I can't believe I can't remember the dates exactly). Check my article in Grove.

Busoni was suggestion 1/3 tones, but he never produced any music for
this.

All best wishes,

Gordon Rumson

On 7-Sep-07, at 2:08 AM, jbflute wrote:

> I am looking for some info about the development of microtonality in
> Western music around 1920. There was a lot of quarter-tone talk
> around
> the globe then, and I wondered if anyone gets credit for being
> the "first". If you'd agree with me that it is indeed Möllendorf in
> 1917, does anybody know when he began his work? In addition to
> that, I
> have info on Partch, Ives, Carillo, Cowell and Haba. Am I missing
> anybody?
>
> Thanks to the list for your colective wisdom.
> Jennifer Borkowski
>

Vishnagradsky?

(or however his name is spelled).

--- jbflute <jbflute@yahoo.com> wrote:

> I am looking for some info about the development of
> microtonality in
> Western music around 1920. There was a lot of
> quarter-tone talk around
> the globe then, and I wondered if anyone gets credit
> for being
> the "first". If you'd agree with me that it is
> indeed Mï¿½llendorf in
> 1917, does anybody know when he began his work? In
> addition to that, I
> have info on Partch, Ives, Carillo, Cowell and Haba.
> Am I missing
> anybody?
>
> Thanks to the list for your colective wisdom.
> Jennifer Borkowski
>
>
>

____________________________________________________________________________________
Be a better Globetrotter. Get better travel answers from someone who knows. Yahoo! Answers - Check it out.
http://answers.yahoo.com/dir/?link=list&sid=396545469

http://en.wikipedia.org/wiki/Ivan_Wyschnegradsky
<http://en.wikipedia.org/wiki/Ivan_Wyschnegradsky>

--- In tuning@yahoogroups.com, Mark Rankin <markrankin95511@...> wrote:
>
> Vishnagradsky?
>
> (or however his name is spelled).
>
>
>
>
>
>
>
> --- jbflute jbflute@... wrote:
>
> > I am looking for some info about the development of
> > microtonality in
> > Western music around 1920. There was a lot of
> > quarter-tone talk around
> > the globe then, and I wondered if anyone gets credit
> > for being
> > the "first". If you'd agree with me that it is
> > indeed Möllendorf in
> > 1917, does anybody know when he began his work? In
> > addition to that, I
> > have info on Partch, Ives, Carillo, Cowell and Haba.
> > Am I missing
> > anybody?
> >
> > Thanks to the list for your colective wisdom.
> > Jennifer Borkowski
> >
> >
> >
>
>
>
>
>
________________________________________________________________________\
____________
> Be a better Globetrotter. Get better travel answers from someone who
knows. Yahoo! Answers - Check it out.
> http://answers.yahoo.com/dir/?link=list&sid=396545469
>

Hi Jennifer,

Sorry about the length of this post, but it struck a
nerve with me so i let loose ...

--- In tuning@yahoogroups.com, "jbflute" <jbflute@...> wrote:
>
> I am looking for some info about the development of
> microtonality in Western music around 1920. There was
> a lot of quarter-tone talk around the globe then, and
> I wondered if anyone gets credit for being the "first".
> If you'd agree with me that it is indeed Möllendorf in
> 1917, does anybody know when he began his work? In
> addition to that, I have info on Partch, Ives, Carillo,
> Cowell and Haba. Am I missing anybody?

Oh, indeed, the history of microtonal music is fascinating,
and *very* long. I have published webpages speculating that
the Sumerians invented both "pythagorean" tuning and
12-edo about 5000 years ago.

In more modern times in the West, 12-edo (in the form of 12-et)
did become basically a universal standard for approximately
the 2 centuries 1800-2000. The oldest Western score i know
of which uses quarter-tones by Halevy in 1849 -- following
is a quote from my very long webpages "A Century of New Music
in Vienna", which details a lot of the microtonal history in
Europe during the time before 1920:

http://tonalsoft.com/enc/v/vienna.aspx

>> "Also in Paris, 50-year-old Jacques Halevy becomes one
>> of the earliest "modern" composers to use quarter-tones,
>> in his incidental music to Prométhee Enchainé
>> ['Prometheus bound']. Halevy's intention is to revive
>> the ancient Greek "enharmonic genus", using quarter-tones
>> between B:C and E:F, following the Romanization of the
>> note-names in the enharmonic version of the Greek
>> "Greater Perfect System".

There was much discussion in England during the mid-to-late
1800s about various other tuning systems, particularly by
Woolhouse:

http://tonalsoft.com/monzo/woolhouse/essay.aspx

who recommended 50-edo as an ideal meantone temperament,
and 19-edo as a more practical (but not as good otherwise)
solution; and numerous essays by Bosanquet, who invented
the generalized keyboard.

In America at this time, Henry Ward Poole patented a
7-limit JI organ:

http://tonalsoft.com/monzo/poole/poole.aspx

Around this same time (late 1800s), the young Charles Ives
was exposed to various experimental instruments designed
by his father to make non-12-edo pitches. Ives had some
ideas about "stretched" scales, which i wrote about here:

http://tonalsoft.com/monzo/ives/ives-stretch.aspx

You seem to know more about the microtonal movement in
continental Europe during the early 1900s. I've done a
huge amount of research on this, and gave a presentation
on it at Microfest 2001, "Microtonality in Berlin and
Vienna in the early 1900s" -- the abstract which i quote
below is here:

http://www2.hmc.edu/~alves/microfestabstracts.html#monzo

>> "Around the turn of the last century, there was a fair
>> amount of experimentation and composition using microtonality,
>> especially "quarter-tones", in the Austrian and German
>> capitals, Vienna and Berlin respectively, which were then
>> (and still are) the largest musical centers in the
>> German-speaking world. Examples from the latter half of
>> the 1800s are Josef Petzval and Shohe Tanaka, and after
>> 1900 Busoni, Schoenberg, and Webern all flirted with the
>> idea of using microtones, and while none of them made
>> real use of non-12-tET tunings, all three had significant
>> influence on other composers. Richard H. Stein published
>> a quarter-tone piece in 1906, and during the next decade
>> Willi Möllendorf patented a quarter-tone keyboard which
>> made a great impact on both Alois Haba and Ivan Wyschnegradsky,
>> the two most significant European microtonalists of the
>> earlier 20th century. There has been little written about
>> this activity even in German, and almost nothing at all
>> so far in English. There was much contact between many
>> of these composers, and this lecture attempts to trace
>> the lines of influence. I also speculate on the significance
>> non-12-tET may have had for Mahler, since he was a strong
>> supporter of Schoenberg and all of his larger works were
>> written for the flexibly-tunable orchestra, and also on
>> the relevance of microtonality to the development of both
>> atonality and sprechstimme in Vienna at this time.

The early influences of Petzval and Tanaka should not be
slighted: Petzval taught for decades at the University of
Vienna and demonstrated 31-edo on his "guitharp", and i
suspect that Mahler witnessed this; and Bruckner got the
opportunity to play Tanaka's 53-edo "enharmonium", and
he also taught at U of V. More of this is documented under
the appropriate years in my "Vienna" page (under "1877" for
Petzval, and "1889" and "1891" for Tanaka).

It is clear that Schoenberg grappled with the idea of
microtonality for at least a few years. The opening
page of his "Sketchbook III" contains, among sketches
for the _Kammersymphonie_, an attempt at quarter-tone
notation -- you can see the graphics under "1906" on my
"Vienna" page.

A very important push in the direction of microtonality
came from the publication in 1906 of Busoni's little
book _Sketch of a new aesthetic of music_. 3 years later
after Schoenberg met him, Busoni sent Schoenberg a copy
of the book and they engaged in spirited correspondence
for a few months. Schoenberg wrote a long letter to Busoni
just before composing his amazing monodrama _Erwartung_,
which contains this excerpt discussing his ultimate
rejection of quarter-tones:

http://tonalsoft.com/monzo/schoenberg/to-busoni-1909-8-24.htm

It's well-known that Berg and Webern (and particularly
Webern) followed closely what their master Schoenberg
taught them. There are sketches by Webern of two songs
which contain microtones in the vocal part, dating
probably from the first half of 1909 -- i made a
webpage in English out of Domenic Schweiger's article
on this:

http://tonalsoft.com/monzo/webern/micro/webern-micro.htm

I find it very interesting that Webern's use of a little
cross for the microtonal notehead is exactly what Schoenberg
used when he "invented" _sprechstimme_ two years later
in his resumption of work on the _Gurrelieder_, and
thereafter for the rest of his life.

In 1911, both Moellendorf and Jorg Mager built quarter-tone
harmoniums. I have made a web version in German and English
of Moellendorf's entire book from 1917:

http://tonalsoft.com/monzo/moellendorf/book/contents.htm

(i also made a styrofoam model of one octave of Moellendorf's
keyboard for my Microfest presentation.)

Finally, it was indeed Haba who was probably the most
influential and significant of all the microtonal composers
of this era. I have a webpage of his list of works, which
uses different colors for his microtonal scores:

http://tonalsoft.com/monzo/haba/haba-worklist.aspx

(Note that not all of my Tonalsoft webpages have been
converted to the Tonalsoft format yet, so some of these
links will not have links back into the Encyclopedia.)

Partch developed his ideas on tuning in the 1920s, and
they continued to evolve until publication of his book
in 1947. Brian McLaren's version of that story can be
found here:

http://sonic-arts.org/mclaren/partch/evolution.htm

-monz
http://tonalsoft.com
Tonescape microtonal music software

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monz wrote:
> Hi Jennifer,
>
>
> Sorry about the length of this post, but it struck a
> nerve with me so i let loose ...
>
>
> --- In tuning@yahoogroups.com, "jbflute" <jbflute@...> wrote:
>> I am looking for some info about the development of
>> microtonality in Western music around 1920. There was
>> a lot of quarter-tone talk around the globe then, and
>> I wondered if anyone gets credit for being the "first".
>> If you'd agree with me that it is indeed Mï¿½llendorf in
>> 1917, does anybody know when he began his work? In
>> addition to that, I have info on Partch, Ives, Carillo,
>> Cowell and Haba. Am I missing anybody?

It should also be noted that Thaddeus Cahill's "Telharmonium" was not
only one of the first "electric" musical instruments and the precursor
of the Hammond organ, it was also tuned in just intonation, and had a
number of manuals/keyboards as a result. IIRC the initial patents
appeared in 1895, and the machines were actually in operation in the
early 1900s. They were gone by the 1920s, though.

And let us not forget Helmholtz when talking about the history of
microtonality. Also, didn't Satie experiment with quarter tones?
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Hi Ed,

--- In tuning@yahoogroups.com, "M. Edward (Ed) Borasky" <znmeb@...>
wrote:
>
> monz wrote:
> > Hi Jennifer,
> >
> >
> > Sorry about the length of this post, but it struck a
> > nerve with me so i let loose ...
> >
> >
> > --- In tuning@yahoogroups.com, "jbflute" <jbflute@> wrote:
> >> I am looking for some info about the development of
> >> microtonality in Western music around 1920. There was
> >> a lot of quarter-tone talk around the globe then, and
> >> I wondered if anyone gets credit for being the "first".
> >> If you'd agree with me that it is indeed Möllendorf in
> >> 1917, does anybody know when he began his work? In
> >> addition to that, I have info on Partch, Ives, Carillo,
> >> Cowell and Haba. Am I missing anybody?
>
> It should also be noted that Thaddeus Cahill's
> "Telharmonium" was not only one of the first "electric"
> musical instruments and the precursor of the Hammond organ,
> it was also tuned in just intonation, and had a number
> of manuals/keyboards as a result. IIRC the initial patents
> appeared in 1895, and the machines were actually in
> operation in the early 1900s. They were gone by the 1920s,
> though.

Right you are about that! In fact, it was Busoni's
reading about the Telharmonium that inspired him to
write his book. I meant to put that in my post but
forgot.

> And let us not forget Helmholtz when talking about
> the history of microtonality.

Oh yes, i did also forget to mention Helmholtz in
my post. Hopefully folks will slog thru "A Century
of New Music in Vienna", where they can read about
Helmholtz's book under "1863".

> Also, didn't Satie experiment with quarter tones?

He may have put some in his ballet scores, i don't know.
I'm familiar with all of his piano music, of which
there is a lot, and naturally that's all nominally 12-edo.

Upon Googling "satie quartertones", i was led to this
book, which turns out to have a lot of info pertinent
to this thread, and a whole section on the Telharmonium:

http://books.google.com/books?
id=RsvdGY9VFLUC&pg=PA35&lpg=PA35&dq=satie+quartertones&source=web&ots
=L8TXGO2bNh&sig=cFJv_-sywZkhgoVXE0X17epQx8M

-monz
http://tonalsoft.com
Tonescape microtonal music software

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monz wrote:
> Hi Ed,
>
>
> --- In tuning@yahoogroups.com, "M. Edward (Ed) Borasky" <znmeb@...>
> wrote:
>> monz wrote:
>>> Hi Jennifer,
>>>
>>>
>>> Sorry about the length of this post, but it struck a
>>> nerve with me so i let loose ...
>>>
>>>
>>> --- In tuning@yahoogroups.com, "jbflute" <jbflute@> wrote:
>>>> I am looking for some info about the development of
>>>> microtonality in Western music around 1920. There was
>>>> a lot of quarter-tone talk around the globe then, and
>>>> I wondered if anyone gets credit for being the "first".
>>>> If you'd agree with me that it is indeed Mï¿½llendorf in
>>>> 1917, does anybody know when he began his work? In
>>>> addition to that, I have info on Partch, Ives, Carillo,
>>>> Cowell and Haba. Am I missing anybody?
>> It should also be noted that Thaddeus Cahill's
>> "Telharmonium" was not only one of the first "electric"
>> musical instruments and the precursor of the Hammond organ,
>> it was also tuned in just intonation, and had a number
>> of manuals/keyboards as a result. IIRC the initial patents
>> appeared in 1895, and the machines were actually in
>> operation in the early 1900s. They were gone by the 1920s,
>> though.
>
>
> Right you are about that! In fact, it was Busoni's
> reading about the Telharmonium that inspired him to
> write his book. I meant to put that in my post but
> forgot.
>
>
>> And let us not forget Helmholtz when talking about
>> the history of microtonality.
>
> Oh yes, i did also forget to mention Helmholtz in
> my post. Hopefully folks will slog thru "A Century
> of New Music in Vienna", where they can read about
> Helmholtz's book under "1863".
>
>
>> Also, didn't Satie experiment with quarter tones?
>
> He may have put some in his ballet scores, i don't know.
> I'm familiar with all of his piano music, of which
> there is a lot, and naturally that's all nominally 12-edo.
>
>
> Upon Googling "satie quartertones", i was led to this
> book, which turns out to have a lot of info pertinent
> to this thread, and a whole section on the Telharmonium:
>
> http://books.google.com/books?
> id=RsvdGY9VFLUC&pg=PA35&lpg=PA35&dq=satie+quartertones&source=web&ots
> =L8TXGO2bNh&sig=cFJv_-sywZkhgoVXE0X17epQx8M
>
>
>
> -monz
> http://tonalsoft.com
> Tonescape microtonal music software
>
>
>
>
>
>
One of these days when I run out of other projects (I'm now a Ruby
language freak) I'm going to try to put together a Telharmonium
emulator. It actually looks like it could be done easily in CSound --
they have the Hammond tone wheels in their libraries, so all that would
be required is to generate the pitches. My recollection is that the
Telharmonium did not have vibrato, which makes it even easier. I should
dig up my book on the Telharmonium.

What's even more curious, though, is the fact that the Telharmonium
existed at the same time as the beginnings of recording, yet apparently
there were none made of it. Perhaps it had something to do with two
irascible geniuses -- Cahill and Edison -- and their strong personalities.
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M. Edward (Ed) Borasky wrote:
>
> One of these days when I run out of other projects (I'm now a Ruby
> language freak)
>
> I'm a Python language freak. I never saw the appeal of a language (Ruby) that was by all appearances a Python rip-off. But, convince me.

Let's take this to metatuning....

> --- In tuning@yahoogroups.com, "jbflute" <jbflute@> wrote:
> >
> > I am looking for some info about the development of
> > microtonality in Western music around 1920. There was
> > a lot of quarter-tone talk around the globe then, and
> > I wondered if anyone gets credit for being the "first".
> > If you'd agree with me that it is indeed Möllendorf in
> > 1917, does anybody know when he began his work? In
> > addition to that, I have info on Partch, Ives, Carillo,
> > Cowell and Haba. Am I missing anybody?

The New Grove Piano ca.1988 dates an unfinished quartertone
piano by Diederichs for Lourié 1913-14 but I found strange
mistakes in other sections of that book. It also includes
pianos for Moritz Stoehr, Haba, Vischnegradsky and Hans Barth
between 1922 and 1931, and says the first microtonal piano was
built by G. A. Behrens-Senegalden in 1892.

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:
> The oldest Western score i know of which uses quarter-
> tones by Halevy in 1849

Supposedly Ad. Populus and others composed for a double
manual quartertone harmonium built by Alexandre in Paris,
about the time A. J. H. Vincent was championing quartertones
for ancient music, and Vincent showed one at the 1862 Expo.

Clark

Augusto Novaro who published in 1927 both a version of a 7 limit diamond (filling in the gaps with other intervals in the same manner Partch would later) and promoting 72.
his book in Spanish plus an English translation ( in progress as it still lacks the diagrams being inserted)
http://anaphoria.com/novaro.html
--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/index.html>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main/index.asp> 88.9 FM Wed 8-9 pm Los Angeles

A bit later, but still important: Mildred Couper. There are now some decent webpages about her work.

Daniel Wolf

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:

> In more modern times in the West, 12-edo (in the form of 12-et)
> did become basically a universal standard for approximately
> the 2 centuries 1800-2000. The oldest Western score i know
> of which uses quarter-tones by Halevy in 1849 -- following
> is a quote from my very long webpages "A Century of New Music
> in Vienna", which details a lot of the microtonal history in
> Europe during the time before 1920

Wow! Thanks! My question to myself had been, "What happened with
microtonality after the invention of equal temperment?"

Answer: A Lot! Funny, here I sit in Vienna, and this info still
eludes the standard history texts.

There's more than enough there for me to work with. (Just filling in
some history info in a dissertation about extended techniques for
flute) Even with all that stuff going on, we flutists didn't catch
up until the 1980's! (with the modern flute, that is)

...going now to digest all that is there...

Thanks again,
Jennifer Borkowski

--- In tuning@yahoogroups.com, "jbflute" <jbflute@...> wrote:
>
> --- In tuning@yahoogroups.com, "monz" <monz@> wrote:
>
> > In more modern times in the West, 12-edo (in the form of 12-et)
> > did become basically a universal standard for approximately
> > the 2 centuries 1800-2000. The oldest Western score i know
> > of which uses quarter-tones by Halevy in 1849 -- following
> > is a quote from my very long webpages "A Century of New Music
> > in Vienna", which details a lot of the microtonal history in
> > Europe during the time before 1920
>
> Wow! Thanks! My question to myself had been,
> "What happened with microtonality after the invention
> of equal temperment?"
>
> Answer: A Lot! Funny, here I sit in Vienna,

You're in Vienna?! ... how would you like to be my
research assistant? I've been longing to spend a few
years there so that i can study all the manuscripts etc.

> and this info still eludes the standard history texts.

Exactly why i made my website.

> There's more than enough there for me to work with.
> (Just filling in some history info in a dissertation
> about extended techniques for flute) Even with all
> that stuff going on, we flutists didn't catch
> up until the 1980's! (with the modern flute, that is)

Then you'd probably also want to know that John Fonville,
a composition teacher and accomplished flautist here
in San Diego at UCSD, had a quarter-tone flute made.

-monz
http://tonalsoft.com
Tonescape microtonal music software

Actually, if you read Patrizio Barbieri's work on violin intonation
and the Orazi 'enharmonic' flute, you will find examples - few but
clear - of the continuing use of microtones, including divisions of
the semitone and non-equivalent enharmonics, through the 17th and 18th
century. The Orazi flute was essentially a quarter-tone instrument.
Such microtonality in the 'classical' era seems to have been most
common in Italy.

The English concertina was tuned in meantone in the early 19th
century, with alternative buttons for G#/Ab and D#/Eb.
See the article by Allen Atlas on 'A 41-Cent Emendation' where he
cites a chromatic-enharmonic run including the D#-Eb diesis melodically.

If you restrict attention to 'well-known' composers then I suppose
Halevy is a reasonable candidate for primacy in the modern era...

~~~T~~~

--- In tuning@yahoogroups.com, "monz" <monz@...> wrote:
>
> --- In tuning@yahoogroups.com, "jbflute" <jbflute@> wrote:
> >
> > --- In tuning@yahoogroups.com, "monz" <monz@> wrote:
> >
> > > In more modern times in the West, 12-edo (in the form of 12-et)
> > > did become basically a universal standard for approximately
> > > the 2 centuries 1800-2000. The oldest Western score i know
> > > of which uses quarter-tones by Halevy in 1849 -- following
> > > is a quote from my very long webpages "A Century of New Music
> > > in Vienna", which details a lot of the microtonal history in
> > > Europe during the time before 1920
> >
> > Wow! Thanks! My question to myself had been,
> > "What happened with microtonality after the invention
> > of equal temperment?"
> >
> > Answer: A Lot! Funny, here I sit in Vienna,
>
>
> You're in Vienna?! ... how would you like to be my
> research assistant? I've been longing to spend a few
> years there so that i can study all the manuscripts etc.
>
>
> > and this info still eludes the standard history texts.
>
> Exactly why i made my website.
>
>
> > There's more than enough there for me to work with.
> > (Just filling in some history info in a dissertation
> > about extended techniques for flute) Even with all
> > that stuff going on, we flutists didn't catch
> > up until the 1980's! (with the modern flute, that is)
>
> Then you'd probably also want to know that John Fonville,
> a composition teacher and accomplished flautist here
> in San Diego at UCSD, had a quarter-tone flute made.
>
>
> -monz
> http://tonalsoft.com
> Tonescape microtonal music software
>

Tom Dent wrote:

> The English concertina was tuned in meantone in the early 19th
> century, with alternative buttons for G#/Ab and D#/Eb.
> See the article by Allen Atlas on 'A 41-Cent Emendation' where he
> cites a chromatic-enharmonic run including the D#-Eb diesis melodically.

I was going to ask for a full citation, but Google did the business. For those slightly lazier:

http://www.concertina.com/atlas/41-cent-emendation/

I have to warm to any essay that contains the phrase "surely the most interesting wrong or questionable note in the entire repertory of Victorian art music for the English concertina".

Graham

Should some flute info be interesting to anybody, the modern flute, or Boehm system, got it's quarter-tone boost when Robert Dick invented lots and lots of new fingerings for it. (in the thousands) His The Other Flute lists all the fingerings as well as the tendency for those fingerings (whether too high/low, loud/soft, edgy/bright)

The Boehm system quarter-tone flute was made by Eva Kingma, a Dutch flute maker. She added some keys to the regular Boehm flute so that all the quarter-tones would be possible. Composer might like to know there's a fingering chart for it here:
http://www.kingmaflutes.com/documenten/brannen_fingering.pdf

Although please know that they are not owned by too many people!

More info on them is avaiable here:
http://www.kingmaflutes.com/CMS/index.php?module=article&view=4

Some mp3's of what it sonds like, via Anne La Berge's website, are here:
http://www.annelaberge.com/

Have fun!
Jennifer Borkowski

Tom Dent <stringph@gmail.com> wrote:

If you restrict attention to 'well-known' composers then I suppose
Halevy is a reasonable candidate for primacy in the modern era...

~~~T~~~

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Looking for some history info.

🔗jbflute <jbflute@yahoo.com>

🔗Gordon Rumson <rumsong@telus.net>

🔗Mark Rankin <markrankin95511@yahoo.com>

🔗J.Smith <jsmith9624@sbcglobal.net>

🔗monz <monz@tonalsoft.com>

🔗M. Edward (Ed) Borasky <znmeb@cesmail.net>

🔗monz <monz@tonalsoft.com>

🔗M. Edward (Ed) Borasky <znmeb@cesmail.net>

🔗Aaron K. Johnson <aaron@akjmusic.com>

🔗threesixesinarow <CACCOLA@NET1PLUS.COM>

🔗Kraig Grady <kraiggrady@anaphoria.com>

🔗Daniel Wolf <djwolf@snafu.de>

🔗jbflute <jbflute@yahoo.com>

🔗monz <monz@tonalsoft.com>

🔗Tom Dent <stringph@gmail.com>

🔗Graham Breed <gbreed@gmail.com>

🔗Jennifer A Borkowski <jbflute@yahoo.com>