This track is another extension of the polymicrotonal etude series. This piece was made entirely in pure data. 2026

String Quartet 16, originally written in 2020 is here reorchestrated by csound classic instruments, in other tunings from the original, now in 13-14-15-16, when originally they were quarter, sixth, eighth and third tones. This is representational of my "versions" categorical enlistments of materials originally meant for strings and then realized via computer direct to digital. Since I have zero chance of ever hearing my music played by a live string quartet, due to the threat of tunings and polytempo, I must console myself with digital approximations.

Four voices timbrally from double reeds, flutes, to synthesized human voice, timbral modulation and microtonal modulation dominate the structure and background of this piece. The tempi are unrelated, no common denominator, until the ending, and all parts modulate to both 12 and 53 toward the end from the beginning set of 13-14-15-16 tet in all four voices. A new MuseKinetics MPE keyboard was used . composed July 2026

Four voices, four clocks, four tunings. This piece sets independent lines in 13-, 14-, 15-, and 16-note equal divisions of the octave against four unsynchronized tempos (55, 67, 79, 103 bpm) — no shared pulse, no common fundamental. Each voice arcs on its own schedule from its starting tempo down into a larghissimo stillness, then accelerandos back up, the four dips never lining up. Plucked string, reed-like FM, a buzzing organ tone, and a bell voice trade the foreground as the tempos drift in and out of phase. Part of an ongoing series in polytempic polymicrotonality.

Three independent lines, three unrelated tunings, three unrelated tempos — no shared fundamental, no master clock. A short polytempic polymicrotonal study built in Csound/Blue: 11-EDO at a fixed 60 BPM, a 13-tone tritave division at a fixed 88 BPM, and a 7-limit JI line accelerating 50→140 BPM underneath.

This track is using Csound, Pure data, audacity, cecelia, and is polymicrotonal in 19, 13, 14, and 15 edos. The rhythmics are quintuplets, triplets, and sixteenth note groupings in various tempi. This piece is made in Urbana, Illinois, nowhere near UIUC. 2026

This piece was created with Csound, Pure data, Klevgrand , Reaper and audacity.

Does Soundcloud work anymore? This piece is still in progress, so there will be updates. The winds are in 13tet, 4/4 time at 60 BPM. The brass is in 14tet, at 34 BPM, in 3/4 time . The percussion is in standard tuning at 69 BPM, and the strings are in 15tet at 79BPM. The choirs resolve at the end to 60 BPM. There are tempo changes in the strings that include: 60, 100, and then back to 60. There are time signatures: 3-4-5-7, but there are large scale tuplets masking the time signatures, rendering them somewhat obsolete, yet required for the mathematical function of the tempo calculations.

This is a "first draft" and there will be updates to both sound and notation. Composed in 2026, and still ongoing.

This is my final version of string quartet 17 in full polymicrotonal polytempo. This has 13-14-15-22 tet tunings, and four competing tempos that shift and change throughout this piece. composed 2025. There are three main sections: staccato-free-harmonics and pizz.

A version without the 12tet in the background with more harmonics, and pizzicato...many versions more to come. The polymicrotonal compression of intervals sounds otherworldly as the violins flautando begin to sound flute-like. The entire timbral world of the string quartet has shifted to other timbres altogether unlike any string quartet known. This is partially due to the processing of Entonal microtonal retuner and its problems handling polyphony, such as multi-stops and makes errors in its processing, which I keep. I choose to keep these odd sounds. I create them and the errors of technology reinterpret them.