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the Nature of Interval

https://drive.google.com/file/d/1ed--tEXhZABlNHXBYd9j3_A5UGHzjH2-/view?usp=sharing The Nature of Interval is the result of research begun after a series of compositions I produced in the mid-70's which were based on overtone formations in a manner similar what has become known as “spectral composition”. This revision of the paper is a somewhat abbreviated version from nearly 20 years later. It details some surprising results and suggests a number of research paths. With luck, I'll have the chance to document thoughts and follow up investigations. The Nature of Interval Introduction Interval lies at the core of music. It is the most basic concept of all musical styles, the most vital - perhaps the only - universal of musical systems and cultures. We define style by the inclusion, usage, and function, and even the exclusion of interval. It is the central if hidden topic of all analysis. It is on the basis of interval that we identify the specifics and background g

Paintings for the Munch Quartet

A short time ago I posted a MIDI realization of a quartet written for a competition. The work was to be based on 3 paintings by Edvard Munch: Melancholy, Dance of Life, and the Scream.I thought it might be a good idea to post the paintings, as well. I hate doing this because you get comments like "that doesn't seem like the scream to me." And while it may not, you always have the chance to correct my mistake by writing your own piece. And I have to admit I'm a bit ambivalent about these kinds of compositions.. Am I supposed to give a sense of the work, like a sound track or an essay, or is the work supposed to illustrate how the paintings or other types of subjects affect me, or is my work a comment. In any case, here they are. Melancholy has a number of variants with the subject facing different directions, placed in different positions on the canvas, and in different colors. The scream has a number of variants as well. It's well worth looking them up. And there

15 Miniatures in the form of a Sonata

Written in response to a call for scores for a program titled 2000 for 2000, these miniatures were premiered in Paris on New Year's Day, 2000. And, yes, all 2000 works were premiered. It took 2 groups working in alternation to get through all 2000. Considering each group of fifteen took around half a minute, the entire performance would have taken almost 7 hours, not counting breaks and switching performers. I chose to use the sections of a sonata to structure each miniature: the various sections of the first movement - intro, expo, development, recap: 2nd movement in song structure:3rd mvt, rhythmically organized scherzo: 4th mvt variation: ending with a short coda.

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